JOURNAL Volume 15/1987 Including Acquisitions/1986 1987 The J. Paul Getty Museum 17985 Pacific Coast Highway Mali bu, California 90265 (213) 459-7611 I SBN 0-89236-133-6 ISSN 0362-1979 T H E J. P AUL GE T T Y M U S E U M J OU R NA L V o l u m e 1 5 / 1 9 8 7 Contents A N T I Q U I T I E S A Byzantine Pendant i n the J. Paul Getty Mu se u m 5 Jeffrey Spier Kopie oder Nac hsc hpf u ng. Eine Bronzekanne i m J. Paul Getty Mu se u m 15 Michael Pfrommer The Go d Apol l o, a Ceremonial Table wi t h Grif f ins, and a Votive Basin 27 Cornelius C Vermeule DE COR A T I V E ARTS Two Pieces o f Porcelain Decorated by Ignaz Preissler 35 i n the J. Paul Getty Mu se u m Maureen Cassidy-Geiger MA NU S CR I P T S Theoktistos and Associates i n Twel f t h-Cent ury Constantinopl e: 53 A n Il l ustrated Ne w Testament o f A . D . 1133 Robert S. Nelson P AI NT I NGS A Cel ibate Marriage and Franciscan Poverty Reflected i n a Neapol itan 79 Trecento Di pt yc h Carl Brandon Strehlke The Nobl est o f Livestock 97 Peter Sutton The Blessed Bernard Tolomei Interceding for the Cessation of the Plague in Siena: 111 A Rediscovered Painting by Giuseppe Mari a Crespi John T Spike A Roman Masterpiece by Hubert Robert: A Hermit Praying in the Ruins 117 of a Roman Temple Victor Carlson P HOT OGRAP HS True Il l usions: Earl y Photographs o f Athens Andrew Szegedy-Maszak 125 S CU L PTU R E A N D WOR KS OF A R T Di e Bathseba des Gi ovanni Bologna Herbert Keutner A CQU I S I TI O N S /1986 I nt r oduct i on 153 Notes to the Reader 158 Ant i qui t i es 159 Manuscri pts 167 Paintings 177 139 Dr awi ngs 188 Decorative Ar t s 210 Sculpture and Works o f Ar t 216 Photographs 222 Trustees and Staff Li st 239 A Byzantine Pendant in the J. Paul Getty Museum Jeffrey Spier A collecti on o f Greek and Etruscan gems acquired by the J. Paul Get t y Museum i n 1981 includes an engraved Graeco-Persian gem set i n a gold pendant. The entire collecti on was publi shed by John Boar dman i n 1975, 1 and the gem i n the pendant was described, no doubt correctly, as belongi ng to Boardmans "Ber n gr oup" o f the late four t h century B . C . 2 Based upon the engraved design on its back, the pendant was classed as Greek and j udged to be o f early Helleni sti c date contemporary wi t h the gem. 3 However, more pendants o f this type, as wel l as other gold objects o f si mi lar style, are known, and thei r early Byzanti ne or i gi n can be f i r ml y estab- lished. The nucleus o f the group was or i gi nally i dent i - fied by Mar v i n Ross i n his discussion o f the examples i n Dumbar t on Oaks, 4 and others can be added here, i ncl udi ng r oughl y datable examples wi t h reliable prove- nience. They are as follows: 1. Gol d pendant set wi t h a Graeco-Persian gem (figs. l a- c ) . H: 2.9 cm (lVs"). Mal i bu, The J. Paul Get t y Museum 81. AN.76.101. J. Boardman, Intaglios and Rings ( London, 1975), no. 101, p. 99, i l l . p. 31 (color). 2. Gol d pendant on gold l oop-i n-l oop chain wi t h openwor k termi nals (figs. 2ab). H (pendant): 3.2 c m ( l 1 / / ) . Ne w Yor k, The Met r opol i t an Museum o f Ar t 17.190.1659. Ex-col l . J. Pi erpont Mor gan, purchased fr om Amadeo Canessa, Paris, 1911. Unpubli shed. 3. Gol d pendant, inscribed <|xos/(of|, on gold chain made o f six short chains j oi ned by hookssome ornamented wi t h gemstones (fig. 3). H: 2.6 c m (1"). I would like to thank Dr. Myrt ali Acheimastou-Potamianou, Byzantine Museum, Athens; Amy S. Hatleberg, Dumbarton Oaks Research Library and Collection, Washington, D C ; Dr. Alfred Bernhard-Walcher, Kunsthistorisches Museum, Vienna; Helen C. Evans, The Metropolitan Museum of Ar t , New York; and V. Suslov, State Hermitage, Leningrad, for their generous assistance i n provi d- ing information, photographs, and permission to publish the items i n this article. Abbreviations Dalton, Early Christian: O. Dalton, Catalogue of Early Christian An- tiquities and Objects from the Christian East (London, 1901). Ross, D.O. Cat, vol. 1: M. Ross, Metalwork, Ceramics, Glass, Glyp- tics and Painting, vol. 1 of Catalogue of the Ne w Yor k, The Met r opol i t an Museum o f Ar t 17.190.1660. Ex-col l . J. Pi erpont Mor gan, purchased fr om Amadeo Canessa, Paris, 1911. Unpubli shed. 4. Gol d pendant set wi t h agate cameo o f Apol l o and Daphne (figs. 4a-b) . H: 2.5 cm (1"). Washi ngton, D.C., Dumbar t on Oaks Research Li br ar y and Co l - lecti on 69.15. Said to have been found i n Sicily wi t h t wo gold buckles. Ross, D.O. Cat, vol. 2, no. 5c, pp. 2, 8-9. 5. Gol d chain wi t h three gold pendants set wi t h banded agates (figs. 5ab). Leni ngrad, State Hermi t age 2134/1. Found i n Kuban, 1892. A. Bank, Byzantine Art in the Collections of Soviet Museums ( Leni ngrad, 1985), nos. 9394, wi t h further literature. 6. Gol d pendant set wi t h clear glass, under whi ch is an enamel wi t h a seated Vi r g i n hol di ng a Chi l d (figs. 6a-b) . H: 4 cm ( l 9 / i 6 " ) . Switzerland, private collecti on. Said to be fr om Asia Mi nor . Unpubli shed. 7. Gol d pendant fr om the Lesbos treasure, found wi t h j ewel r y and coins o f Phocas and Heraclius (figs. 7ab). H: 2 cm ( W) . Athens, Byzanti ne Museum 3039. BCH 79 (1955), pp. 284-286, figs. 5-8; M. Chatzidakis i n The Greek Museums (Athens, 1975), no. 17; Depart ment o f Ant i qui t i es and Archaeologi - cal Restoration, Offi ce o f the Mi ni st er to the Pr i me Mi ni st er, Greece, Catalogue of the Ninth Exhibition of the Council of Europe: Byzantine Art, An Euro- pean Art (Athens, 1964), no. 388, pp. 365-366, no i llust rat i on. Byzantine and Early Mediaeval Antiquities in the Dumbarton Oaks Collection (Wash- ington, D C, 1962). Ross, D.O. Cat., vol. 2: M. Ross, Jewelry, Enamels and Art of the Mi- gration Period, vol. 2 of Catalogue of the By- zantine and Early Mediaeval Antiquities in the Dumbarton Oaks Collection (Washington, D C, 1965). 1. J. Boardman, Intaglios and Rings (London, 1975). 2. Ibid., no. 101, p. 99. 3. Ibi d., pp. 34-35. 4. Cf. Ross, D.O. Cat, vol. 2, no. 5c, pp. 8-9; no. 31, p. 31; no. 35, p. 33. 6 Spier Figures la-c. Left, Pendant set wi t h Graeco-Persian gem. Byzantine, circa si xt h century. Gol d set wi t h earlier chalcedony scaraboid. Center, back. Right, back. Dr awi n g by Mar t ha Breen Bredemeyer. Mal i b u, The J. Paul Get t y Mus eum 81.AN.76.101. 8. Gol d pendant found wi t h j ewel r y and gold coins o f Constans I I , Constanti ne I V, and Ti beri us I I I (fig. 8). H: 2.6 c m (1"). Found i n Pantalica, Sicily; pres- ent locat i on unknown. P. Or si , Sicilia bizantina (Rome, 1942), vol . 1, no. 7, p. 138, pi . 9. 9. Gol d disc wi t h engraved cross, perhaps fr om a pen- dant (fig. 9). H: 2.1 cm ( 7 /s"). Washi ngton, D.C., Dumb ar t on Oaks Research Li br ar y and Col l ect i on 53.12.51. Said to have been found i n Const ant i - nople. Ross, D.O. Cat., vol . 2, no. 35, p. 33. 10. Silver reli quary pendant wi t h glass cover, relics i n - side, found wi t h a hoard o f gol d j ewelry. H: 3 c m (l 3 / i 6"). Mi l an, Ci vi co Museo Archeologi co. Found i n the excavations at Caesarea Mar i t i ma, Israel, 1962. Ant o ni o Frova, Scavi di Caesarea Maritima ( Mi l an, 1965), pp. 236-238, figs. 295-297. The Get t y pendant (figs, lac) is composed o f a ci r - cular piece o f sheet gold, sli ght ly convex on the back, wi t h the edges folded over the gem on the front side. The back is decorated wi t h an engraved circle; wi t hi n this is a pattern o f four acanthus leaves arranged so that the central unengraved space forms the shape o f a cross. Out si de the engraved circle is a border o f punched dots. A t hi n, beaded wi r e is attached along the entire ci r cum- ference o f the pendant, and a ri dged stri p o f gold is folded to f or m a loop for suspension. The gem is a chalcedony scaraboid engraved wi t h a r unni ng horse, and as not ed above, i t belongs to a Graeco-Persian wor kshop o f the late four t h century B . C . Few Byzant i ne 5. An unpublished Graeco-Persian chalcedony scaraboid i n Mal - ibu (85.AN.444.1) was reengraved wi t h magical inscriptions i n the thi rd or fourth century A. D. , and another Graeco-Persian scaraboid i n Oxford bears Koranic texts i n Kufic script, whi ch were added i n the intaglios appear to have been made, and the reuse o f earlier gems i n the Byzanti ne peri od was not an unusual practice. Large Graeco-Persian gems were probably found frequently, as they are today, and may have been t hought to have magical properti es. 5 Closest i n style to the Get t y pendant is a fine example i n Ne w Yor k ( No. 2, figs. 2ab) on a gold l oop-i n-l oop chain wi t h r ound openwor k termi nals typi cal o f si xt h- century Byzanti ne wor k. The engravi ng and pat t erni ng are very si mi lar to the Get t y example, although some- what more careful, and the border o f punched dots is the same. A beaded wi r e is also added to the edge, but i t is somewhat thi cker than that on the Get t y pendant. Whatever was set i n the pendant is no w mi ssi ng. Anot her pendant i n Ne w Yor k ( No. 3; fig. 3) is smaller than No. 2 but is si mi lar ly constructed. The shape o f the engraved cross is sli ght ly different, however, and the c ommon Byzanti ne cr uci for m i nscri p- t i on c()cbs/oi)f| ( li ght/ li fe) is added on the cross; this is the onl y example among the pendants presently under consideration to have an i nscri pt i on. The other side o f No. 3 is undecorated. The chain is composed o f six short l oop-i n-l oop chains j oi ned together wi t h hooks on whi ch gems were set; onl y three o f thesean emer- ald and t wo amethystssurvive. The gold termi nals are heart shaped wi t h filigree openwork. A very si mi lar chain wi t h i denti cal termi nals was found wi t h a si xt h- century Byzanti ne treasure now i n Dumb ar t on Oaks. 6 A pendant ( No. 4; figs. 4ab), whi ch was supposedly found i n Si ci ly wi t h t wo gold belt buckles and is no w i n seventh or eighth century A. D. : See J. Boardman and M.L. Vollen- weider, Catalogue of the Engraved Gems and Finger Rings in the Ash- molean Museum (Oxford, 1978), vol. 1, no. 178, and a photo of the back i n P. Zazoff, Die antiken Gemmen (Muni ch, 1983), p. 4, pi. 41. A Byzantine Pendant 7 Figure 2a. Pendant on l oop-i n-l oop chai n wi t h openwor k termi nals. Byz- antine, circa si xt h century. Gol d. H (pendant): 3.2 c m ( l 1 / / ) . Ne w Yor k, The Met r opol i t an Mus eum o f Ar t , Gi ft o f J. Pi er- pont Mor gan, 17.190.1659. Phot o: Court esy The Met r opol i t an Mus eum o f Ar t , Ne w Yo r k Dumbar t on Oaks, is very si mi lar to the others. It is, however, more oval shaped than the previous circular examples. Thi s pendant again has the border o f punched dots, and the added beaded wi r e is t hi n, li ke that o f the Get t y example. I t is set wi t h a cameo depict- i ng Apol l o and Daphne. Thi s may be a rare example o f contemporary Byzanti ne glypti c, since i t has li t t le i n common wi t h Roman cameos and its i conography is not out o f place i n this per i od. 7 A gold necklace found at Kuban on the nor t h coast o f the Black Sea i n 1892 and now i n Leni ngr ad ( No. 5; figs. 5ab) has three pendants as wel l as a clasp set wi t h a 6. Ross, D O Cat, vol. 2, no. 179 C, p. 136. 7. Cf. Ross, D.O. Cat, vol. 2, p. 9, and the fifth-century Ravenna ivory he cites. There is also an unpublished Byzantine belt buckle wi t h the scene i n a Swiss private collection. Figure 2b. Det ai l o f fi gure 2a. Dr awi n g by Mar t ha Breen Bredemeyer. 8 Spier Figure 3. Pendant on a chai n composed o f six short l oop-i n-l oop seg- ments. Byzant i ne, circa si xt h century. Go l d or nament ed wi t h gemstones. H (pendant): 2.6 c m (1"). Ne w Yor k, The Me t r o - pol i t an Mus eum o f Ar t , Gi ft o f J. Pi er pont Mor gan, 17.190.1660. Photo: Courtesy The Met r opol i t an Museum o f Ar t , Ne w Yor k. gold solidus struck at Constanti nople dur i ng the br i ef j o i nt rei gn o f Justi n I and Justi ni an i n A . D . 527. The pendants are again oval shaped but are o f sli ght ly di f- ferent manufacture fr om the previous examples. They are flatter, and the front sides are set wi t h banded-agate gems surrounded by t wo rows o f beaded wi r e wi t h a plai t ed-wi re band between t hem. They do not have the border o f punched dots. A l l three pendants have a loop at the b o t t o m for a small pendant, onl y one o f whi c h survivespear shaped wi t h a beaded-wire r i m set wi t h a gem. Two o f the pendants have patterns si mi lar to those seen on No. 4, whi l e the larger central pendant has a modi fi ed pattern so that an I X Chr i st ogr am is formed, again out li ned by the stylized acanthus leaves. The engraved pattern o f a pendant i n a Swiss private collecti on ( No. 6; figs. 6ab) is hi ghl y stylized, but the wor kmanshi p is very fine. The engravi ng is bold, and the leaves are accentuated by rows o f punched dots do wn the spines. The added beaded wi r e is t hi ck and carefully molded, and the pendant i t self is one o f the largest o f the group. It is set wi t h a remarkable con- structi on consisting o f a glass cover over an enamel that 8. Ross, D O Cat, vol. 2, no. 145, pp. 100-101. See K. Wessel, Byzantine Enamels (Shannon, Ireland, 1969), no. 16, pp. 6667, who dates the Dumbarton Oaks example circa A. D. 900. 9. The enamel is both stylistically and technically very unusual and needs further examination. The goldwork appears certainly genuine. 10. P. Orsi, Sicilia bizantina (Rome, 1942), vol. 1, pp. 135-141. That the pendant belongs to the group here under discussion was already A Byzantine Pendant 9 depicts a seated Vi r g i n and Chi l d; all o f this is mount ed i n a gold frame. The enamel is unl i ke the mai n series o f the Mi ddl e Byzanti ne peri od but seems stylistically close to one relatively early example i n Dumbar t on Oaks showi ng a standing Vi r g i n and Chi l d, most l i kel y dati ng fr om the late ni nt h or early t ent h century A . D . 8 I n bot h examples the unusual colors, notably the whi t e ski n, and the large, r ound eyes are similar. A t ent h- century date is therefore best for the enamelwork o f No. 6, but the pendant i t self clearly belongs wi t h the others i n the si xt h or seventh century. The pendant, whi ch probably ori gi nally held a gemstone or relic, must have been reused several hundred years after its manufacture. 9 The Lesbos treasurenow i n At hensof Byzanti ne gold j ewel r y wi t h coins o f Phocas ( A . D . 602610) and Heraclius ( A . D . 610641) i ncluded another example ( No. 7; figs. 7ab). It is very small, and the wo r k is crude. The stylized leaves are barely distinguishable, and addi - ti onal hatch marks are added i n the field. There is no border o f punched dots. Anot her pendant ( No. 8; fig. 8) was found early i n this century i n a hoard o f gold j ewel r y and coins at Pantalica, Sicily. The i l l i ci t find was qui ckly dispersed, but P. Or si was able to reconstruct much o f i t usi ng photos o f the j ewel r y and descriptions o f the coins. 1 0 The phot ograph published by Or si shows the pendant vi ewed t hr ough the openi ng where the gemstone or other object, no w mi ssi ng, was set. The engravi ng ap- pears to be somewhat better than that o f the Lesbos treasure example ( No. 7; figs. 7ab) but is st i l l si mple and stylized. No border o f punched dots is visible, nor is there an added beaded wi r e. I n addi t i on to a suspen- sion loop on top, there are t wo on the sides and one below, perhaps for suspension o f smaller pendants i n the manner o f the Leni ngrad examples ( No. 5; figs. 5ab). The coins said to have been found at Pan- talica i nclude soli di o f Constans I I ( A . D . 641668), Constanti ne I V ( A . D . 668685), and Ti beri us I I I ( A . D . 698705). Most o f the other j ewel r y fr om the Sicilian hoard is o f unusual style and not easily paral- leled by other Byzanti ne wor k; a late seventh-century date is most li kely. Thi s addi ti onal j ewel r y may have been manufactured i n a local workshop. 1 1 Ross has plausibly suggested that a gold disc i n Du m- bart on Oaks ( No. 9; fig. 9) may be a fragmentary pen- dant; i n whi ch case, i t wo ul d be another crude example. Figure 4a. Pendant set wi t h agate cameo o f Apo l l o and Daphne. Supposedly found i n Sicily, circa si xt h century. Gol d. H: 2.5 c m (1"). Wash- i ngt on, D. C. , Dumb ar t o n Oaks Research Li br ar y and Col l ect i on 69.15. Phot o: Co ur - tesy Dumb ar t o n Oaks Research Li br ar y and Col l ect i on, Washi ngt on, D C. Figure 4b. Back o f fi gure 4a. Phot o: Cour t esy Dumb ar - t on Oaks Research Li br ar y and Col l ect i on, Washi ngt on, D C The acanthus leaf pattern is abandoned i n this instance for si mple hatch marks that appear between the arms o f the cross. Finally, a hoard o f Byzanti ne j ewel r y found i n the excavations at Caesarea Mar i t i ma i n Israel includes a comparable example i n silver wi t h a glass cover ( No. 10). It is very corroded, and pieces o f the back are mi ss- noted by Ross, D.O. Cat, vol. 2, p. 9. an antique heirloom at the time of its burial. 11. A fine ring set wi t h an aquamarine intaglio depicting Nemesis was also said to be from the find, Orsi (supra, note 10), no. 1, p. 137, fig. 60, pi. 9. It appears to be of first-century date and must have been 10 Spier Figure 5a. Chai n wi t h three pendants set wi t h banded agates. Found Kuban, Russia, circa si xt h cen- t ury. Gol d. Leni ngr ad, State Her mi t age 2134/1. Phot o: Cour t esy State Her mi t age, Leni ngr ad. Figure 5b. Det ai l o f fi gure 5a. Dr awi n g by Mar t ha Br een Bredemeyer. i ng, maki ng i t di ffi cult to see the engraved pattern. It appears to be a facing, ni mbat e bust rather than the cross and acanthus leaf design. Ot her details, such as the circular shape, the border o f punched dots, and the added beaded wi r e, however, all correspond to the mai n series o f pendants under consideration. Thi s par- ti cular example served as a reliquary. Wi t h the exception o f the last ( No. 10), the pendants all share a basic decorative pattern: a central cross sur- rounded by engraved acanthus leaves placed between the arms and sometimes addi ti onal hatched lines i n the fi eld. The f or m o f the cross varies, as does the quali ty o f the engravi ng and the care gi ven to the pattern. The cross may have arms o f equal lengt h wi t h flaring ends (Nos. 13); i t may have longer vertical than hori zont al branches ( No. 4; t wo o f the pendants i n No . 5; and Nos. 7, 8); or i t may approach the for m o f a Maltese cross (Nos. 6, 9). I n one example ( No. 5) the cross is modi fi ed to become an I X monogr am. Or i gi nal l y the i nt ent i on was t o make a simple, un - der r at ed cross subtly stand out fr om the complex background o f floral decoration that outli nes i t . The most successful examples are i n Mal i b u and Ne w Yor k (Nos. 1, 2), where the carefully engraved acanthus pat- terns are bolder than the cross. The crosses on the sub- sequent pendants are more easily visible, and the acanthus leaves hence become more stylized; they no longer appear rounded i n shape wi t h cur vi ng veins but as si mple oval or tri angular areas wi t h a central spine and straighter veins. They fill the fields i n a more hap- hazard manner and may degenerate to a state where the leaves are almost i ndi sti ngui shable among the lines ( No. 7) or are replaced enti rely by si mple hatch marks ( No. 9). Al t hough the pattern o f acanthus leaves out l i ni ng a cross does not appear elsewhere i n Byzant i ne art, the use o f the acanthus leaf as a subsidiary decorative device on met al wor k was very popular. It is frequently seen engraved on silver plate i n the four t h century A . D . and continues i nt o the si xt h and seventh centuries, as Ross has observed. 1 2 Elaborate patterns based on acanthus leaves are also t ypi cally found engraved below the bowls o f si xt h- and seventh-century, silver li t urgi cal spoons. 1 3 A related pattern o f acanthus leaves and cross is seen on the gold box-pendant reli quary o f Saint Zacharias said to be fr om Constanti nople and now i n Dumb ar t on Oaks (figs. 10ac). 14 The back, carefully executed i n 12. Ross, D.O. Cat., vol. 1, no. 7, p. 9, and cf. E. Dodd, Byzantine Silver Treasures (Bern, 1973), pp. 1213. In addition, the cross and acanthus leaf pattern of the pendants is seen as a decorative mot i f i n the borders of a pair of unpublished sixth- or seventh-century, silver A Byzantine Pendant 11 Figures 6a-b. Left, Pendant set wi t h a glass-covered enamel o f the Vi r g i n and Chi l d. Supposedly found i n Asi a Mi no r , circa si xt h or seventh century. Gol d wi t h enamel o f later date. H: 4 c m (l 9 /ie"). Right, back. Swi tzerland, pri vate collect i on. Figures 7a-b. Left, Pendant. Found i n Lesbos, circa si xt h century. Gol d. H: 2 c m ( W) . Right, back. Athens, Byzant i ne Mus eum 3039. Photos: Court esy Byzant i ne Museum, Athens. repousse, shows a cross wi t hi n a wreat h surrounded by four acanthus leaves, all wi t hi n a square linear border; around this central composi t i on is a cable border. The sides are decorated wi t h acanthus patterns, also wor ked i n repousse. The front is set wi t h an engraved gem (perhaps not the or i gi nal setting, as Ross notes) sur- rounded by vegetal and lozenge patterns i n fine opus interrasile and a beaded-wire border. The reli quary o f Saint Zacharias is o f exceptional quali ty and stands apart technically fr om other si xt h- book covers now i n a Swiss private collection. 13. Cf. the examples i n Dalton, Early Christian, p. 35. 14. Ross, D.O. Cat, vol. 2, no. 31, pp. 30-31. 15. Cf. most recently D. Buckton, "The Beauty of Holiness: Opus century goldwor k. The differences are most notable i n the execution o f the fine opus interrasile and repousse wor k. The opus interrasile is si mi lar to the best four t h- century Const ant i ni an wo r k fr om the Eastern Empi r e (probably fr om Const ant i nople) , 1 5 and i t is unl i ke the less ski l l ful openwor k frequently seen i n si xt h- and seventh-century Byzanti ne j ewel r y; the careful repousse wo r k also has li t t le i n common wi t h the kn o wn gol d- wo r k o f the si xt h century. The si mi lari ti es to four t h- century wo r k and the differences fr om typi cal si xt h- Interrasile from a Late Antique Workshop," Jewellery Studies 1 (1983-1984), pp. 15-19, see p. 17 for attribution to Constantinople. 12 Spier Figure 8. Pendant. Found i n Pantalica, Sicily, circa si xt h century. Gol d. H : 2.6 c m (1"). Present l ocat i on un k n o wn . Dr awi n g by Mar t ha Breen Br e- demeyer after P. Or si , Sicilia bizantina (Rome, 1942), vol . 1, no. 7, p. 138, pi . 9. and seventh-century Byzant i ne gol dwor k suggest a sli ght ly earlier date for the reli quary than that proposed by Ross, perhaps i n the fi ft h century, alt hough no close parallels are kno wn. The wel l - kno wn gold reli quary box found i n the ol d basilica at Pola (present-day Pula, Yugoslavia) and no w i n Vi enna 1 6 forms a l i n k between the Dumb ar t on Oaks reli quary and the group o f pendants (figs. 11ac). Its l i d appears to have been i nspi red by the design o f the Dumb ar t on Oaks reliquary, but this has become hi ghl y stylized. The repousse cross wi t hi n a wreat h is replaced by a cross wi t h glass paste i nlay surrounded by a wreat h o f plaited gold wi r e. Four pyr ami dal clusters o f gold beads appear i n the corners instead o f the four acanthus leaves. The short sides have crosses bordered wi t h cables as i n the Dumb ar t on Oaks example, but here, unl i ke the Saint Zacharias reliquary, the stylized acanthus leaves fill the areas between the arms o f the cross i n the manner o f the pendants. Perhaps fr om the same wor kshop is a gold cross i n Dumb ar t on Oaks, whi c h shares wi t h the Vi enna r el i - quary box the addi t i on o f plaited gol d wi r e, clusters o f 16. H. Buschhausen, Die spaetroemischen Metallscrinia und fruehchristlichen Reliquiare (Vienna, 1971), no. B 20, pp. 249-252, pi . 57, and K. Weitzmann, ed., The Age of Spirituality (New York, 1979), no. 568, pp. 630-631. 17. Ross, D.O. Cat., vol. 2, no. 10, p. 15. 18. Ibid., no. 10, p. 15; E. T. Leeds, Antiquaries Journal 20 (1944), no. 4, p. 334, pi . 51. 19. Other gold objects that display similarities i n manufacture and Figure 9. Engraved disc, perhaps f r o m a pendant. Sup- posedly found i n Const ant i nople, circa si xt h century. Gol d. H: 2.1 c m ( 7 /s"). Washi ngt on, D. C. , Dumb ar t o n Oaks Research Li br ar y and Collect i on 53.12.51. Photo: Courtesy Dumbar - t on Oaks Research Li br ar y and Collect i on, Washington, D. C. gold beads, and central glass paste i nlay on one side. I n a vari ati on o f the pendants' mot i f, the other side o f the cross has engraved acanthus leaves i n each ar m (fig. 12). 1 7 Ot her si mi lar crosses are noted by Ross, as are rings decorated wi t h si mi lar plaited wi r e, i ncl ud- i ng an example i n Oxfor d set wi t h a coi n o f Zeno ( A . D . 474-491) . 1 8 The si mi lari ti es i n the decoration o f the Dumb ar t on Oaks cross, the Vi enna reli quary box, and the group o f pendants indicate that all are products o f the same koine style. A Byzanti ne koine style o f j ewelry, attested by a large number o f finds fr om all parts o f the Byzanti ne Empi re, developed by the early si xt h century, flourished i n the rei gn o f Justi ni an, and cont i nued wel l i nt o the seventh century. There can be li t t le doubt that much o f the materi al was manufactured i n Constanti nople and that workshops located elsewhere, whet her i n the east or the west, closely followed the fashions set i n the capital. The style encompasses a large body o f materi al ( i ncludi ng personal j ewelry, such as belt buckles, ear- rings, finger rings, necklaces, and pendants, as wel l as crosses and reliquaries), and the sharing o f decorative decorative detail can also be identified. For example, a small gold cross ( H: 2.83 cm [ l W] ) engraved wi t h the same pattern as the larger example at Dumbarton Oaks (fig. 12) is now i n a Swiss private collec- tion; i t is unpublished. Another similar example was on the London market a few years ago and was exhibited by Jack Ogden Ltd. (In the Wake of Alexander, November 17December 1, 1982, no. 27). The use of punched-dot borders is seen, for example, on an openwork ring from Smyrna (British Museum M& L A AF 308; Dalton, Early Chris- A Byzantine Pendant 13 Figures Wa-c. Left, Box-pendant reli quary o f Saint Zacharias. Supposedly found i n Const ant i nople, circa fi ft h century. Go l d set wi t h an engraved gem, possi bly o f later date. H: 3 c m ( l W) ; W: 2.5 c m ( 1 5 / i 6 " ) . Center, back. Right, side. Washi ngt on, D. C. , Dumb ar t o n Oaks Research Li br ar y and Col l ect i on 57.53. Photos: Court esy Dumb ar t o n Oaks Research Li br ar y and Col l ect i on, Washi ngt on, D. C. Figures lla-c. Left, Reli quar y Box. Found i n Pula, Yugoslavi a, circa si xt h century. Go l d wi t h glass paste inlay. H: 1.6 c m (Vs"); W: 2.3 c m ( 7 /s"); D: 1.9 c m ( W) . Center, top. Right, side. Dr awi ng by Mar t ha Breen Bredemeyer. Vi enna, Kunsthi stori sches Mus eum V I I 761. Photos: Cour t esy Kunsthi stori sches Museum, Vi enna. patterns and technical details among different types o f objects is t ypi cal. 1 9 The circumstances o f discovery o f the pendants ex- ami ned here f i r ml y place t hem i n the si xt h and seventh centuries and associate t hem wi t h other j ewel r y o f the koine style. The silver example fr om Caesarea Mar i t i ma was found i n the excavations wi t h a hoard o f j ewel r y that, although not precisely datable, is o f typi cally si xt h- or early seventh-century style. Mor e helpful is the Leni ngrad necklace ( No. 5), whi ch has a clasp set wi t h a coi n precisely datable to the j o i nt rei gn o f Justi n I and Justi ni an i n A . D . 527. The Lesbos treasure contained Han, no. 212, p. 33) and on the ubiquitous pear-shaped and lunate openwork earrings, whi ch usually show two confronted peacocks (cf. the recent summary of the literature, T. Ergi l, Earrings [Istanbul, 1983], no. 157, p. 62, to whi ch others could be added). The tails of the peacocks often resemble the stylized acanthus leaves of our No. 6, wi t h a row of punched dots down the spine from whi ch engraved veins branch off (cf. A. Pierides, Jewellery in the Cyprus Museum [ Ni c- osia, 1971], no. 10, p. 56, pi. 38). Also apparently related to the style and technique of the goldwork under consideration is the Olbia treasure o f Gothic jewelry from south Russia, now i n Dumbarton Oaks (Ross, DO. Cat, vol. 2, no. 166, pp. 117118). The date is controversial, but the similarity o f the engraved decoration and pattern to Byzantine goldwork, as well as other details, suggests a dependence on Byzantine prototypes. A sixth- rather than early fifth-century date may be preferable. 14 Spier Figure 12. Cross. Circa si xt h century. Go l d w i t h glass paste inl ay. H : 2.7 c m (IVI"). Washi ngt on, D. C. , Du mbar t o n Oaks Research Li br ar y and Col l e c t i on 50.20. Phot o: Court esy Du mbar - t o n Oaks Research Li br ar y and Col l e ct i on, Washington, D C . a quantity o f j e we l r y o f typical type, as we l l as coins o f Phocas and Heracl ius datable to the mid-seventh cen- tury. The pendant i n this hoard shows a further diver- gence f r o m the ori gi nal pattern and may be indicative o f the later examples o f the group. The pendant f r o m the Pantalica hoard, whi c h contained coins spanning the second hal f o f the seventh century, is also rather crude but fits we l l i nt o the mai n group, al though the accom- panying j e we l r y is not typical o f the seventh-century Byzantine style. The wi de di st ri but i on o f the pendants incl udes Asia Mi no r , south Russia, Palestine, Lesbos, and Sicily, and a simil ar range is seen for the compar- able j ewel ry. Thi s again suggests a central or i gi n for the style, i f not for the actual manufacturesurel y Constantinopl e itself. Me r t o n Col l ege Oxf o r d Kopie oder Nachschpfung. Eine Bronzekanne im J. Paul Getty Museum Michael Pfrommer Di e be r dre i i g Zent i met er hohe Kanne mu zu den qual i t t vol l st e n erhal tenen Br o nze ge f ae n mi t orna- mental em De kor gerechnet werden ( Abb. 13, 5) . 1 Di e reiche Dekorat i on der Kanne ist von au e r ge - w hnl i c he r Qual i t t , sowohl i m Ent wu r f wi e auch i n der Au sf hr u ng. De n Ge f kr pe r s c hm c kt ein zweireihiger, gypt i sc he r Nymphaea Ne l umbo-Ke l c h, zwischen dessen Bl attspitzen italische St o c kwe r kbl t e n geschaltet sind ( Abb. 1012). Ei n plastisch gegebenes lesbisches Kymat i o n akzentuiert den Halsansatz. De n Hal s selbst sc hm c kt eine aus Sil berbl ech geschnit- tene u nd eingelegte Weinranke. Fi grl i ch verziert ist al l ein der Henkel , bei dem ein Panskopf die untere At - tasche bil det ( Abb. 6), w hr e nd ein kl einer Silens- ko pf als oberer He nke l absc hl u i n das Ge f i nne re bl i ckt ( Abb. 7). Das Gef wurde mgl i c he r we i se vor der g ypt i - schen K st e i n der N he von Al exandria i m Meer ge- funden. Muschel n u nd andere Abl agerungen be st t i ge n eine marine Herkunf t , ohne da eine exaktere Ei ngre n- zung des Fundortes auf diesem Wege m g l i c h w r e . 2 Wi e zu zeigen sein wi r d, vermag die Ornamentanal yse die Zuwei sung an eine gypt i sc he Werkstatt zu st t ze n. T E C H N I K Wi e das Fehlen jegl icher Spuren vo n Treibarbeit i m Inneren bezeugt, wurde die Kanne trotz der extrem Fr die Publikationserlaubnis bin ich M. True zu herzlichem Dank verpflichtet. Fr Hil fe und Hinweise verschiedener Ar t danke ich ebenfalls K. Manchester und J. Podany. Verbunden bin ich weiterhin i m besonderen Mae M. Breen-Bredemeyer fr die Erstellung der Zeichnungen. Abkrzungen Auer den i m AJA bl ichen Abkrzungen wi rd i m folgenden verwendet: Pfrommer, "Studien": "Studien zu alexandrinischer und grogrie- chischer Toreutik frhhel l enistischer Zeit, " Archologische Forschungen 16 (Berl in, 1987). 1. Mal ibu, The J. Paul Getty Museum 85.AB.78. Hhe : 32 cm; Durchmesser: 20.3 cm. 2. Nach Auskunft des ozeanographischen Instituts i n Los Angeles zeigen die Ablagerungen, da die Kanne aus dem Meer und nicht aus Swasser geborgen wurde. d nne n Wandung gegossen. 3 Dies gi l t auch fr den i n Kal tarbeit be r g ang e ne n Bl attkel ch. I m Gegensatz zu der vol l st ndi g mi t Silber eingel egten Weinranke auf dem Hal s, zeigen auf dem Ge f kr pe r nur einige we - nige Bl t e nde t ai l s sil berne Einl agen, die i n Abb. 12 schwarz gekennzeichnet sind. Das gleiche gi l t auch fr das lesbische Kymat i on. Der He nke l ist separat ge- gossen u nd ange l t e t bzw. mi t Ni e t e n befestigt. GE F S S F OR M Typol ogisch f ol gt die Kanne i n etwa der von J. D. Beazley als 5a bezeichneten Gruppe. 4 Bronzekannen dieses Typs sind meines Wissens kau m erhal ten, doch zeigt eine g r o e Bronzekanne aus dem thrakischen Tu - mul us vo n Ma l Tepe, da der Typus i m 3. Jahrhundert gel uf ig war ( Abb. 4) . 5 Das i n der Au sf hr u ng ungl eich bescheidenere Ma l Tepe-Exempl ar l t sich i n einigen f ormal en Datail s mi t der Mal i bu-Kanne vergl eichen. Dies gi l t etwa fr die mi t einem Eierstab verzierte Lippe, den mi t einem Prof i l von der Schulter abgesetzten Hal s u nd ebenso fr die spu l e nf r mi ge Fi nge rst t ze auf der oberen He nke l - biegung. Di e Ent wi c kl u ng der Fi nge rst t ze l t sich i m makedonischen u nd ital ischen Raum seit dem aus- gehenden 4. Jahrhundert beobachten, doch besitzen diese Ge f e i n der Regel gedrungenere Proportionen u nd keine von der Schulter abgesetzte Hal spartie. 6 3. Fr diese technische Auskunft bin ich J. Podany und seinem Stab verbunden. Die Technik des Gusses derartig dnnwandiger Gefe, einschlielich eines reliefierten Dekors, hat i n der gypti- schen Toreutik lange Tradition: Pfrommer, "Studien," 77f, 84 KBk 1, 7-15, Taf. 6-9; 11; 12; 48c, d. 4. Als Beispiel klassischer Zeit vgl . man etwa eine Kanne des Mannheimer Malers i n Oxford, Inv. 298, Ashmolean Museum: CVA Oxford I ( III 1), Taf. 43, 14. 5. Sofia, Archol . Mus.: B. Filow, BIABulg 11 (1937), 56, Nr. 18, Abb. 55, 56. Als sicher rmisches Beispiel mi t einem lesbischen Kymation am bergang von Hals und Schulter vgl . eine Kanne i n Belgrad br. 2835/III: Lj. B. Popovic, D. Mano-Zisi, M. Velickovic, B. Jelicic, Anticka Bronza u Jugoslaviji, Narodni Muzej Beograd (Belgrad, 1969), 124, Nr. 217, Abb. 217. 6. Kannen aus dem "Phil ippgrab" von Vergina i n Thessaloniki Mus.: M. Pfrommer, Jdl 98 (1983), 239. M. Andronicos, Vergina. The 16 Pfrommer Abb. 1. Bronzekanne. H: 32 cm (127s"); D: 20.3 cm (8"). Malibu, TheJ. Paul Getty Museum 85.AB.78. Kopie oder Nachschpfung 17 Abb. 2. Bronzekanne. H : 32 c m ( 12 5 / 8 ") ; D: 20.3 c m (8"). Mal i bu , The J. Paul Ge t t y Mu s e u m 85. AB. 78. 18 Pfrommer Abb. 3. Profilzeichnung der Bronzekanne i n Abb. 1. Zeichnung von Martha Breen Bredemeyer. Kopie oder Nachschpfung 19 I n f r hhel l en i s t i s cher Zei t fi ndet sich auch der Eierstabdekor der M n d u n g 7 un d das lesbische Kyma- t i on an der Naht st el l e von K r p e r un d Hal s. 8 Di e f or - mal en Det ai l s der Mal i bu-Kan n e k n n t e n somi t fr eine Dat i er un g i m 3. Jahrhundert v. Chr. sprechen. DER HE NKE L U N D DER F I G RL I CHE DEKOR Di e He n ke l f or m mi t der g r o e n Pansattasche un d der s pul e n f r mi ge n Fi n ger s t t ze (Abb. 3, 5, 6) l t sich, wi e gesagt, bereits i n f r hhel l en i s t i s cher Zei t bel egen. 9 Di es gi l t auch fr Det ai l s wi e den ins Gef i n n er e schauenden Si l enskopf (Abb. 7), 1 0 oder die Vol ut en zu bei den Seiten des Panskopfes. 11 Di e Mi t t el r i ppe des Henkel s gestaltete der Toreut als si l bern eingelegte Schlange, ei n Det ai l , fr das mi r keine f r he Parallele gel uf i g ist. W h r e n d man dem Schlangendekor schwerl i ch chr o- nologische Si gni fi kanz zubi l l i gen wi r d, l i egt der Fall bei den i n For m von Sc hwan e n kpf e n gebi l det en oberen En den des Henkel s gn zl i ch anders. Schwanenkopfat- taschen dieser Ar t si nd ganz al l gemei n t ypi sch fr kai - serzeitliche Tor eut i k, wi e et wa ei n silberner Skyphos- henkel des f r hen 1. nachchristlichen Jahrhunderts aus Vi ze i n Ost t hr aki en bezeugt (Abb. 8). 1 2 Neben pompe- jani schen Fun den 1 3 ist vor al l em auch auf Gu f or me n derartiger Hen kel aus dem r mi s c h e n g yp t e n zu ver- wei sen. 1 4 Trot z der zahlreichen f r hhel l en i s t i s chen De - t ai l f or men ist die Kanne somi t schwerl i ch vor der au- gusteischen Zei t gefertigt wor den . Auc h der g r o e Panskopf zeigt un be r s e h bar spt e, eklektische Z g e . Di e Ges i cht s zge mi t den or n amen - talen Ube r aug e n b g e n un d der wul s t i gen Nase er i n - nern n och durchaus an f r hhel l en i s t i s che Beispiele, doch wi r d unschwer ei n Man gel an plastischer Dur c h - bi l dun g deut l i ch, der ei nen beinahe maskenart i gen Ei n - dr uck her vor r uf t , ei n Ei n dr uck, der dur ch die kl ei ne, Royal Tombs and the Ancient City (Athens, 1984), 152, Abb. 115, 116, 158, Abb. 124. Zu weiteren Beispielen dieses Kannentyps vgl . Pfrom- mer, op. cit., 239-240, Abb. 1, 2. 7. S.o. An m. 6. 8. Als Beispiel des ausgehenden 4. Jhs. vgl . man eine Silberkanne thrakischen Typus aus Varbitza i n Sofia, Archol . Mus. 51: Gold der Thraker, Ausstellung Kl n, Mn chen , Hildesheim (Kln, 1979), 161, Nr. 318, Abb. 318. Fr das 3. Jh. vgl . man kleine Si l berknnchen i n New York, Metropolitan Museum of Ar t 1972.118.156; 1982.11.13: D. v. Bothmer, BMMA 42 (1984), 49, Nr . 84, Abb.; 57, Nr . 96, Abb. 9. S.o. An m. 6. 10. Dieses Mot i v findet sich i n klassischer Zei t etwa bei Kannen des Typs 2: T. Weber, Bronzekannen (Frankfurt am Mai n , 1983), 91ff, Taf. 13. Vgl . weiterhin Pt ol emer kannen: D. B. Thompson, Ptole- maic Oinochoai and Portraits in Faience (Oxford, 1973), Taf. 49, 60, Nr . 218, 220. 11. Vgl . die Kannen o. An m. 6. 12. Istanbul, Archol. Mus.: L. Byvanck-Quarles van Ufford, Abb. 4. Br on zekan n e aus de m Ma l Tepe. Sofia, Ar c h o- logisches Mus e um. Zei chn un g von Mar t ha Br een Bredemeyer. gebleckte Zun ge n och ver s t r kt wi r d. Eine Reminiszenz an frhhel l eni st i sche Formen fassen wi r wei t er hi n i n den steil aufgerichteten Pan s hr n e r n . 1 5 Wei t entfernt von der differenzierten, teilweise n at u- ralistischen Bar t behandl ung f r hhel l en i s t i s cher Be i - spiele 1 6 ist schl i el i ch die schematische, unplastische Wiedergabe des Bartes, der von dem Toreut en n ur Melanges Mansel I (Ankara, 1974), 335-343, Taf. 113-116. 13. Aus Boscoreale, Paris, Louvre: A. Heron de Villefosse, MonPiot 5 (1899), Taf. 20; 23, 3; 24, 2. 14. Turin, Museo Egizio: T. Schreiber, Die Alexandrinische Toreutik (Leipzig, 1894), Taf 1, i n London, Bri t . Mus.: op. cit, Taf. 3b. 15. Man vgl . eine Bronzekanne i n Boston (Mus. of Fine Arts 99.485), bei der die Hr n er zweier antithetischer Bockskpfe i n analoger Weise auf dem Henkel angeordnet sind. M. Pfrommer, Jdl 98 (1983), 240, Abb. 2 (mi t Parallelen). Zu dem Kannentypus s. o. An m. 6. 16. Pan-Attasche eines Hol zkohl en-Behl t ers (?) oder einer Lampe aus dem "Philippgrab" von Vergina i n Thessaloniki: M. Pfrommer, Jdl 98 (1983), 255-256, Abb. 15. M. Andronicos, Vergina. The Royal Tombs and the Ancient City (Athens, 1984), 162f, Abb. 130, 131. Der Kopf wurde von mi r versehentlich als Silen mi t einem Bl t t erkranz angesprochen. Es handelt sich jedoch fraglos um einen fr Pan ver- wendeten Silenskopftypus. Die Attasche der Kanne ist allerdings auch nicht mi t dem tierischen Pansbild einer Eimerattasche i n Toronto zu 20 Pfrommer Abb. 5. Bronzekanne. H : 32 c m (12 5 /s"); D: 20.3 c m (8"). Mal i bu , The J. Paul Ge t t y Mu s e u m 85.AB.78. Abb. 6. He nke l der Kanne i n Abb. 1 mi t e i ne m Pans- ko pf als Attasche. durch parallele, straffe St r hne n gegl iedert wurde. Vergleiche w r e n hier eher i n f rhkl assi scher Ze i t zu suchen. 1 7 De mg e g e n be r entspricht das plastisch aber ko m- pakt gegebene Haupthaar spt he l l e ni st i sche n Bi l dunge n ( Abb. 9). Di e erste u nd die zweite Reihe der zapfenar- tigen, symmetrisch geordneten Locken sind streng voneinander abgesetzt u nd die hintere Reihe steil aufge- richtet ( Abb. 3, 6). Verwandt, we nn auch nicht identisch, ist die Haaran- lage bei den Sil enskopf-Attaschen spt he l l e ni st i sche r u nd f rhkai serzei t l i cher Marmorkratere. Zu nennen ist hier der bereits i n dem gegen 100 v. Chr. gesunkenen Mahdi aschi f f vertretene Typus Mahdia-Borghese, 1 8 sowie der j ng s t vo n H. Froni ng dem mi t t l eren 1. vor- christl ichen Jahrhundert zugewiesene Medicikrater. 1 9 Das Ende der Reihe bil det ein f rhkai serzei t l i cher Kr a- ter mi t Rankendekor i m Kapitol inischen Mu se u m ( Abb. 9 ) . 2 0 Wi r fassen hier somit einen be r l nge re Ze i t bel iebten Attaschentypus, der sich insbesondere auf- grund der Haaranlage vo n f rhhe l l e ni st i sche n Bi l du n- gen absetzt. 21 Das spt he l l e ni st i sche Mo t i v der pr o t u be r anz hnl i c h hochfl iegenden Haare ist bei unserer Bronzekanne zi - tiert, j edoch ekl ektisch mi t einer Bart bi l dung des 5. Jahrhunderts kombi ni ert . Der vor die spu l e nf r mi ge Fi nge rst t ze gesetzte kl eine Sil enskopf ( Abb. 7) zeigt eine hnl i ch ekl ektische Mi sc hung hel l enistischer u nd klassischer Charakteri- stika. Di e etwas schematische Wiedergabe des Bartes erinnert durchaus an den Panskopf ( Abb. 6). Detail s, wi e der Efeukranz mi t den gr o e n Korymben, folgen da- gegen Vorbi l dern des sp t e n 4. u nd 3. Jahrhunderts. 2 2 Auf f l l ig sind j edoch die nach spt he l l e ni st i sche r Ma - nier eingezogenen Kont ure n einiger Ef e ubl t t e r. 2 3 Der f i grl i che De kor steht somit einem bereits vo n vergleichen (Toronto 910.205.3): J. W. Hayes, Greek, Roman, and Re- lated Metalware in the Royal Ontario Museum (Toronto, 1984), 26ff., Nr. 31, Abb. 31. 17. Silenskopf an einem Kantharos des 5. Jhs. aus Goljamata Mogil a i n Plovdiv, Archol . Mus. 1634: I . Venedikov, T. Gerassimov, Thrakische Kunst (Wien, 1973), 344, Taf. 168. 18. Kratertypus Mahdia-Borghese: H. Froning, Marmor-Schmuck- reliefs mit griechischen Mythen im 1. Jh. v. Chr. (Mainz, 1981), 141142, Taf. 56, 1; 57, 1 (mit Li t . ) . Zu einem antiquarischen Detail vgl . Pfrom- mer, "Studien," Anm. 73, 77. KP 117 (3. Jh.). 19. Froning, op. cit. 140-153, Taf. 57, 2. 20. Rom, Kapitolinisches Museum 275: Froning, op. cit. 141f., Anm. 9 21. Man vgl . etwa die Attasche eines Bronzeeimers aus Derveni. Thessaloniki Mus.: M. Pfrommer, Jdl 98 (1983), 254, Abb. 12 (mit Parallelen). Pfrommer, GettyMusJ 11 (1983), 142, Abb. 16. 22. S. o. Anm. 21. 23. Zu Vorstufen: Pfrommer, "Studien," 114. Die Einziehung ist Kopie oder Nachschpfung 21 Abb. 7. Obere Henkelattasche der Bronzekanne in Abb. 1 mit dem Kopf eines Silens. Abb. 8. Henkel eines silbernen Skyphos aus Vize. Istan- bul, Archologisches Museum. Photo: mit freundlicher Genehmigung, Deutsches Archo- logisches Institut, Istanbul; W. Schiele. den Schwanenattaschen der He nke l nahegelegten f rh- kaiserzeitl ichen Ansatz nicht i m Weg. DER BLATTKELCH Wi e die Gef f or m l t sich auch der groe , den Ge- f krpe r u mh l l e nde Bl attkel ch auf Vorbil der f rhhe l - lenistischer Ze i t zurc kf hre n. Di e dreireihige, i n fla- chem Rel ief ausge f hrt e Dekorat i on ge hr t zu den Nymphaea Ne l umbo-Ke l che n mi t be rf al l e nde n Trauf- spitzen gypt i sc h-f rhhe l l e ni st i sc he n Typs. 2 4 Di e Trauf- spitzen sind nach pt ol e m i sc he r Tradition ornamental verziert. 2 5 Wi e bei einer Reihe f rhhe l l e ni st i sche r De - korationen wurde n zwischen die Bl attspitzen Bl t e n eingeschal tet. 2 6 Wi e zu zeigen sein wi r d, erweist sich, ungeachtet einiger spt erer Detail s, der gesamte De kor als Au f g r i f f einer Dekorat i on des mi t t l eren 3. Jahrhunderts. jedoch bei weitem nicht so stark wie an anderen frhkaiserzeitlichen Denkml ern. Man vgl . etwa Efeu am Bel-Tempel von Palmyra: H. Seyrig, R. Amy, E. Wi l l , Le temple de Bei Palmyre (Paris, 1975), Taf 45, oben links. 24. Zu m vorhellenistischen Typus, Pfrommer, "Studien," 8691. Zu frhen Beispielen mit eingeschalteten Bl ten, Pfrommer, "Stu- dien," 87, KBk 58, 61, Taf 60. Aus frhhel l enistischer Zeit sind bis heute nur mi t Akanthus gemischte Kelche bekannt, Pfrommer, "Stu- dien," 95ff, doch drfte dies dem Zufal l der berl ieferung zuzuschreiben sein. Fr einen reinen Nymphaea-Kelch mi t gypti- schen Kronen anstelle der Bl ten, vgl . Pfrommer, "Studien," 100, 116, 120f, KBk 60, Taf 61. Pfrommer, GettyMusJ\2> (1985), 15, Abb. 9. Zu einem reinen Nymphaea-Kelch vgl . auch ein Bronzebecken i m J. Paul Getty Mus. 80.AC.84:. Pfrommer, GettyMus] 13 (1985), 9-18, Abb. 1. 25. Pfrommer, "Studien," 111, 120f Pfrommer, GettyMusJ 13 (1985), 14-17. 26. Pfrommer, "Studien," 95-116, Taf. 52; 53a, b. Abb. 9. Henkelattasche eines Marmorkraters. Rom, Ka- pitolinisches Museum 275. 22 Pfrommer Abb. 10. Bl t e ns c hmu c k des Bl attkel chs auf de m K r pe r Abb. 11. Bl t e ns c hmu c k des Bl attkel chs auf de m K r pe r der Bronzekanne i n Abb. 1 ( Bl t e ngr u ppe A) . der Bronzekanne i n Abb. 1 ( Bl t e ng r u ppe B) . De r Bl t e ns c hmu c k der be rf al l e nde n Traufspitzen der ersten u nd zweiten Kel chreihe schl i et eine Dat i e- r ung der mu t ma l i c he n Vorbil der vor dem mi t t l eren 3. Jahrhundert aus. 2 7 Di e De t ai l durchf ormung des N y m - phaeabl attwerks selbst ist unmi t t el bar mi t dem De kor einer Bronzevase vorgebl ich iranischer Provenienz zu verbinden, die nicht f rher als das 1. vorchristl iche Jahr- hundert angesetzt werden kann. 2 8 Zu vergl eichen sind vor al l em Detail s wi e die feine Doppe l kont ur der Bl at t - r nde r u nd Mi t t e l ri ppe n. Abwei chend vo n klassischen u nd f rhhe l l e ni st i sche n Beispiel en mi t Nymphaea Ne l umbo- De kor at i on wur de n die Bl attadern nicht ko n- vex herausgearbeitet, 2 9 sondern wi e bei der Bronzevase u nd bei einem Becken gl eichen Material s i m J. Paul Getty Muse um eingetieft. 3 0 Frhhel l enistische und spthel l enistisch-frhkaiserzeitl iche Bl attprofil ierungen verhalten sich somit bei diesen Beispielen wi e Positiv zu Negativ. I m Gegensatz zu der normalerweise bl ichen Kel ch- anordnung reduzierte der Toreut bei der Mal ibu-Kanne die H he der zweiten und dritten Kelchreihe, u m Raum fr die gr o e n Bl t e nkomposi t i one n zu schaffen. Bemer- kenswert ist weiterhin der alternierende Wechsel der Bl attformen i n dem hintersten Kelchregister. Neben w i n- zigen Nymphaea Ne l u mbo - Bl t t c he n findet sich hier miniaturisierter Akanthus, 3 1 sowie einfach gezahntes Bl attwerk. I m Grundaufbau ist der Bl attkel ch jedoch nicht von f rhhel l enistischen Beispielen zu trennen. Dies gil t auch fr die Verwendung ornamental gefl l ter Trauf- spitzen bei den Nymphae abl t t e rn. DI E B L T E N F O R M E N Di e zwischen den Bl attspitzen stehenden Bl t e nko m- positionen fol gen dem ital isierenden, makedonischen Bl t e nr e pe r t o i r e . 3 2 Sowohl der Bl t e ng r u ppe A ( Abb. 10, 12) wi e auch B ( Abb. 11, 12) l iegen St o c kwe r kbl t e n ital ischen Typs zugrunde ( Abb. 13) . 3 3 Be i m Typus A w c hst aus einer g r o e n Ke l c hbl t e mi t auf wendigem Basiskel ch eine g r o e Knospe, die ihrerseits aus einem g r o e n Kel ch mi t zur Seite geschla- genen Bl t t c he n entwickel t ist. Di e Ko mpo si t i o n ist i n der ital isch-makedonischen Orname nt i k bereits i m aus- gehenden 4. Jahrhundert angelegt, wi e etwa die Bl t e n- komposi t i on auf Textil ien des "Phil ippgrabes" i n Ver- gina zeigt ( Abb. 13) . 3 4 Verwandte Komposi t i one n f i n- den sich auch i m f r hpt o l e m i sc he n Repertoire. 3 5 Au c h die aus dieser g r o e n Bl t e wachsenden kl einen Bl t - chen unterschiedl ichen Typs kehren i n nahezu i de n- tischer Fo r m auf den zitierten Textil ien wi e de rwi e etwa die kl einen, i m Prof i l gegebenen Ke l c hbl t e n mi t 27. Als eines der frhesten Beispiele vgl . einen Becher i n New York, Brookl yn Mus., 55.183: Pfrommer, "Studien," 119 KBk 66, KaB A 48, Taf. 61. Pfrommer, GettyMusJ 13 (1985), 15, Abb. 8. Bei diesem, aus einer gyptischen Werkstatt stammenden Gef, ist das Fl l motiv rein abstrakt und nicht pflanzlich. 28. New York, Metropol itan Mus. of Ar t 66.235: Pfrommer, GettyMusJ 13 (1985), 12, Abb. 5a. Pfrommer, "Studien," Anm. 518. Vgl . auch das o. Anm. 24 zitierte Becken. 29. Vgl . Pfrommer, "Studien," 8691 und die dort zitierten Beispiele. 30. S.o. Anm. 24. 31. Mgl icherweise bezog der Toreut seine Anregung von den Miniaturakanthusbl ttchen i n ptol emischen Blattkelchdekorationen des 3. Jhs.: Pfrommer, "Studien," 116. 32. Zu diesem Repertoire Pfrommer, Jdl 97 (1982), 119-190, bes. 140-147. 33. Zur Definition: Pfrommer, Jdl 97 (1982), 126, Abb. 1. 34. Pfrommer, Jdl 97 (1982), 145, Abb. 8. M. Andronicos, Vergina. The Royal Tombs and the Ancient City (Athens, 1984), 195, Abb. 156, 157. Pfrommer, GettyMusJ 13 (1985), 17, Abb. 11. Kopie oder Nachschpfung 23 Abb. 12. Ze i c hnung des Bl attkel chs u nd des l esbischen Kymat i ons am Halsansatz der Kanne i n Abb. 1. Ze i c hnung vo n Mar t ha Breen Bredemeyer. den sil bern eingel egten Fruchtknoten. Spt e Beispiele dieses Typs begegnen noch i m mi t t l eren 3. Jahrhundert. 3 6 Einige Ei ge nt ml i c hke i t e n unterscheiden die Bl t e n- gruppe A ( Abb. 10, 12) von spt kl assi sch-f rhhe l l e ni - stischen Beispiel en. Zu nennen ist etwa die Lo t o sbl t e n ange n he r t e Ausgestal tung der eigentl ichen Ke l chbl t e . Diese Variante des spt kl assi schen Mo t i vs begegnet als be kr ne nde Bl t e auch bei der Bl t e nko mpo s i t i o n B ( Abb. 11, 12) u nd ist, wi e das zitierte Bronzebecken i n Mal i bu zeigt, i n dieser Ausgestal tung wahrscheinl ich dem 1. Jahrhundert v. Chr. zuzuweisen. 3 7 Auc h hier l iegen j edoch die Wurze l n i m f rhhe l l e ni st i sche n Re- pertoire, wi e ein Gi psabg u einer pt o l e m i sc he n Phiale des f rhe re n oder mi t t l eren 3. Jahrhunderts be st t i gt . 3 8 Be i der Ko mpo si t i o n A ist wei t erhi n die be r aus feste Verbindung vo n Ke l c hbl t e u nd be kr ne nde r Knospe bemerkenswert. Di e beiden Bl t e n stecken f rml i c h i n- einander, wi e w i r es spt e st e ns seit augusteischer Ze i t an Bl t e nkande l abe r n kennen. 3 9 Auc h dieses De t ai l spricht fr eine Entstehung der Vase nicht vor dem aus- gehenden 1. Jahrhundert v. Chr. Beachtung verdient we i t e rhi n die Ausgestal tung des oberen Bl t e nr ande s der Ke l c hbl t e n. A u f den be r - fal l enden Bl t e nr and setzte der Toreut eine Perlreihe. Abb. 13. Bl t e nko mpo si t i o n eines Stoffes aus dem " Phi l - i ppgrab" vo n Vergina. Thessal oniki, Ar c h o - l ogisches Mu se u m. Diese De t ai l f orm ist meines Wissens i m Repertoire des sp t e n 4. u nd f rhe re n 3. Jahrhunderts nicht ge l u- f ig, sie findet sich j edoch i n der zweiten Hl f t e des 3. Jahrhunderts auf dem Giebel des Sirenensarko- phags aus Me mphi s, 4 0 eine Parallele, die angesichts des gypt i sc he n Nymphaea Nel umbo-Kel ches der Kanne u nd ihres mu t ma l i c he n Fundortes sicherl ich nicht zuf l l ig ist. Di e Bl t e ng r u ppe B ( Abb. 11, 12) ist hnl i ch aufge- baut wi e A, doch ko mmt hier das f rhhe l l e ni st i sche 35. Man vgl . etwa Bl ten auf den Reliefs des Petosirisgrabes von Hermupolis: Pfrommer, Jdl 97 (1982), 180, Abb. 20b, sowie einen Gipsabgu aus Mi t Rahine i n Hildesheim, Pelizaeus Mus. 1161: C. Reinsberg, Studien zur hellenistischen Toreutik (Hildesheim, 1980), 66f., 303, Nr. 19, Abb. 32. Pfrommer, Jdl 97 (1982), 186, Abb. 23, 34. 36. An den Antenkapitellen des Naiskos von Didyma: Th. Wiegand, H. Knackfu, Didyma. Die Baubeschreibung (Berl in, 1941), F 530, Taf. 190. Zur Datierung vgl . Pfrommer, Istanbuler Mitteilungen 37 (1987), i m Druck. 37. Pfrommer, GettyMusJ 13 (1985), 17. 38. Hildesheim, Pelizaeus Mus. 1141: Reinsberg, op. cit., 55f., 299, Abb. 21. Pfrommer, "Studien," 153, Anm. 375, 990. 39. Man vgl . etwa die ra Pacis: G. Moretti, ra Pacis Augustae (Rom, 1948), Taf. 1 (Rankenpfeiler). 40. Kairo, gyptisches Mus. CG 33102: C. C. Edgar, Graeco-Egyp- tian Coffins, Masks and Portraits, Catalogue Generale des Antiquites Egyp- tiennes (Kairo, 1905), 2f. Taf. 2. Pfrommer, Jdl 97 (1982), 179f, Abb. 19 (Blte). Pfrommer, "Studien," 135, Anm. 884, 1079 (mit Li t . ) . 24 Pfrommer Formengut noch unverkennbarer zu m Tragen. Di e bei - den Bl t e n der St ockwe rkkomposi t i on sind noch re- gel recht mi t ei nem Stiel verbunden u nd stecken nicht so fest ineinander. De r drei bl t t ri ge Basiskel ch der g r o e n Ke l c hbl t e erinnert al l erdings an sp t e st he l l e - nistische Bi l dunge n wi e an de m Bronzebecken i n Mal i bu , 4 1 j edoch lassen sich fr den Bl t e nt ypu s mi t gezacktem Kel chrand unschwer spt kl assi sche u nd f rhhe l l e ni st i sche Anal ogi en anf hr e n. 4 2 Dasselbe gi l t fr die Dif f erenzierung zwischen dem dreidimensional gegebenen unteren Bl at t we rk der Lo t o sbl t e u nd den i n Profil ansicht ausge f hr t e n oberen Bl t t e r n. 4 3 Chronol ogi sch vo n g r o e r Bedeutung sind sc hl i e - l i ch die l ngl i che n Arazeen, die sich f ormal an Beispiele am Laodikebau i n Mi l e t anschl i e e n, ein Ge b u de , das wahrscheinl ich i n das mittl ere 3. Jahrhundert datiert. 4 4 Au c h diese Bl t e nf o r m deutet somi t auf ein f r hhe l - lenistisches Vor bi l d der Dekorat i on. I m Gegensatz zu diesen f rhe n Formen steht der erst i m ausgehenden Hel l enismus auf kommende Typus der be kr ne nde n Lo t o sbl t e mi t be r di me nsi o ni e r t e r Ze n- t ral bl t e, auf den bereits verwiesen wur de . 4 5 DI E B L T E N I N D E N BL A T T S P I T ZE N DE R N Y MP H A E A - BL T T E R Eine Lo t o sbl t e wi e die be kr ne nde Bl t e der Gruppe B dient auch als F l l mo t i v der be r h ng e nde n Traufspitzen der ersten Kel chreihe ( Abb. 12). Al s Fl l bl t e des Lotos ist diesmal eine Ke l c hbl t e mi t gewel l tem, j edoch nicht be r f al l e nde m Rand g e w hl t . 4 6 Di e beiden rahmenden, aus der g r o e n Lo t o sbl t e entwickel ten Bl t e n mi t dr e i bl t t r i ge m Basiskel ch f inden engste Anal ogi en auf einem f rhhe l l e ni st i sche n Kiesel mosaik aus Pella V I . 4 7 A u f der Kanne sind bei diesen Bl t e n die Fruchtknoten bzw. das Bl t e ni nne r e mi t Sil ber eingelegt. Di e ganze Bl t e ng r u ppe w c hst aus zwe i wi nzi ge n, ge ge nst ndi ge n Vol uten, die i n ganz unnatural istischer Weise aus den R nde r n der g r o e n Nymphae abl t t e r entwickel t wurde n. I m Aufbau verwandte Bl t enkomposi t i onen schmcken schl i el i ch die be rf al l e nde n Bl attspitzen der zweiten g r o e n Kel chreihe ( Abb. 12). Di e aus einem Akant hus- kel ch bzw. aus gl attem Bl at t we rk wachsende Knospe 41. Pfrommer, GettyMus] 13 (1985), 17, Abb. I d ( A- C) . Weiterhin 17, Abb. 5b. 42. Etwa ein Kieselmosaik aus Athen: Pfrommer, Jdl 97 (1982), 168, Abb. 14, oder eine apulische Schale i n Ruvo: op. cit., 125, Abb. 27. 43. Vgl . etwa Bl ten an der Goldlarnax des "Philippgrabes." Thes- saloniki Mus.: Pfrommer, Jdl98 (1983), 249, Abb. 7. 44. M. Pfrommer, Istanbuler Mitteilungen 36 (1986), 84, Taf 27.1. 45. S.o. Anm. 24. 46. Al s Beispiel fr viele: Krater i n Neapel, Privatbesitz: A. D. i m Ze nt rum findet sowohl sptkl assische wi e auch f rh- hel l enistische Paral l el en. 4 8 Dasselbe gi l t fr die kl ei nen rahmenden Bl t c he n mi t sil bernen Frucht knot e n. 4 9 Entgegen der h ng e nde n Ori e nt i e rung der Pal metten i n den Traufspitzen auf dem e r w hnt e n Bronzebecken i n Mal i bu 5 0 sind die Bl t e ng r u ppe n i n den Bl attspitzen der Oi nochoe nach oben orientiert. Da es sich j a u m nach vorne be r h ng e nde Traufspitzen handel n sol l , w r e eine h ng e nde Ano r dnu ng der De korat i on an u nd fr sich konsequenter, doch finden wi r seit f rhhel l eni- stischer Zeit i n der Regel stehende Bl t e nkomposi t i one n. BL A T T K E L CH U N D BL T E N . Z U S A MME N F A S S U N G Sowohl i m Bl attkel ch wi e auch i n den Bl t e nf o r me n spiegeln sich zwei unterschiedl iche Phasen der Orna- ment ent wi ckl ung. De r Ent wu r f wi e auch die be r - wiegende Zahl der Einzel f ormen sind dem Reper- toire des ausgehenden 4. u nd der ersten Hl f t e des 3. Jahrhunderts verpfl ichtet, wobe i die entwickl ungsge- schichtl ich spt e st e n Det ai l f ormen i n die Mi t t e des 3. Jahrhunderts datieren. Dies gi l t insbesondere fr die i n dieser Ze i t i m pt o l e m i sc he n Bereich auf kommenden " ge f l l t e n" Bl attspitzen. A u f der anderen Seite sprechen einige Ei g e nt ml i c h- keiten der Bl t e n wi e auch die Gestal tung der R nde r der Nymphaea Ne l u mbo - Bl t t e r fr eine Entstehung der Vase nicht vor dem sp t e n 1. Jahrhundert v. Chr. Angesichts dieses Befundes bieten sich zwei De u - t u ng sm g l i c hke i t e n an. Entweder haben w i r es bei der Dekorat i on mi t einer Nac hsc h pf u ng i m Stil des 3. Jahrhunderts zu t un, oder es handel t sich u m eine ge- ri ngf gi g i m Stil der f rhe n Kaiserzeit modif izierte Kopi e eines f r hpt o l e m i sc he n Ornaments. Dies ist or- namentgeschichtl ich vo n g r o e m Interesse, da bisher unter den erhal tenen f r hpt o l e m i sc he n Dekorat i onen die auf der Kanne vertretene Entwickl ungsstuf e al exan- drinischer Bl attkel chornamentik nicht berl i ef ert ist. DI E WE I N R A N K E Di e Weinreben sind zeitl ich weitaus schwerer einzu- grenzen. Vergleichbar, we nn auch ohne die kompl i zi e r- ten Verschl ingungen, ist der De kor des Kratertypus Trendall, A. Cambitoglou, The Red-Figured Vases of Apulia I I (Oxford, 1982), 923, Taf. 358 (unten Mitte, hinter dem l inken Eros). Ver- gleichbar ist hier nur die perspektivische Ansicht und nicht der Bl - tentypus an sich. 47. D. Salzmann, "Untersuchungen zu den antiken Kieselmo- saiken," Archologische Forschungen 10 (Berl in, 1982), 29f, Nr. 105, Taf. 38, 5 (links). Pfrommer, "Studien," 128f, 131, 138. 48. Als Beispiel fr viele etwa ein Kieselmosaik aus Pella: Salz- mann, op. cit., 105f, Nr. 98, Taf. 31, 4. Kopie oder Nachschpfung 25 Abb. 14. Ze i c hnung der Weinranke auf de m Hal s der Bronzekanne i n Abb. 1. Ze i c hnung vo n Mar t ha Breen Bredemeyer. Borghese-Mahdia, 5 1 doch l t sich der gestreckte Ran- kenverl auf der Zwe i ge bereits i n spt kl assi scher Ze i t bel egen. 5 2 Di e We i nbl t t e r der Oi nochoe entsprechen nicht mehr den vi e rsi ge n Beispiel en des spt e re n 4. u nd 3. Jahrhunderts, doch ist zu beachten, da bei Weinbl att- we rk i n der Regel ohnehin mehrere Varianten nebenein- ander stehen. 5 3 Di e kompl izierte Verschl ingung der Zwe i ge an den Kreuzungspunkten l t sich bereits an einer pt o l e m - ischen Dekorat i on des 3. Jahrhunderts belegen ( Abb. 15) , 5 4 so da auch hier ein f rhhe l l e ni st i sche s Vorbi l d, unter Ums t nde n sogar ein pt ol e m i sc he s, angenom- men werden kann. DAS LES BI S CHE K Y M A T I O N Das lesbische Kymat i o n l t sich ebenfalls auf eine Anre gung des f rhe re n 3. Jahrhunderts zur c kf hr e n. Beispiele mi t geschwungener Ko nt u r u nd rel ativ hoher Bl attspitze erscheinen bereits gegen 300 v. Chr . 5 5 De r Verzicht auf eine breite Bl attspitze deutet eher auf einen Ansatz i m f rhen als i m mittl eren 3. Jahrhundert. Etwas befremdl ich w i r kt die i n der Traufspitze der Bl t t e r mi t einem Kni c k we i t e rge f hrt e , dreifach konturierte Bl at t - rahmung des Kymations. Mgl i c he r we i se zeigt sich hier die Handschrif t des f rhkai serzei t l i chen Toreuten. Wahrscheinl ich ist dies indes bei der kurzen, kei l f r- mi ge n Spal tung der Kymat i e nbl t t e r, eine Ei g e nt m- l ichkeit, die sich auch an anderen toreutischen Kymat i e n Abb. 15. Gi ps abg u aus Me mphi s. Hi l de she i m, Pel i- zaeus Mu s e u m 1135. 49. Man vgl . etwa das Gnosismosaik aus Pella: Salzmann, op. cit., 107f., Nr. 103, Taf. 29 (neben dem Petasos des rechten Jgers). 50. Pfrommer, GettyMusJ13 (1985), 15, Abb. I d: H. 51. H. Froning, Marmor-Schmuckreliefs mit griechischen Mythen im l.Jh. v. Chr. (Mainz, 1981), 146, Taf. 58, 1. 52. Golddekorierte Schwarzfirniskeramik. Krater aus Capua i n London, Brit. Mus. 71.7-22.3: G. Kopeke, AM 79 (1964), 32, Nr. 42, Beil . 19, 1 (oben rechts). 53. Zu m viersigen Typus vgl . man etwa den Alexandersarkophag: V. v. Graeve, "Der Alexandersarkophag und seine Werkstatt," Ist- Forsch 28 (Berlin, 1970), Taf. 57. Als Gegenbeispiel vgl . man zwei der Begleittheken: op. cit., Taf. 3. 54. Abgu, wahrscheinlich eines Schwertknaufs aus Mi t Rahine i n Hildesheim, Pelizaeus Mus. 1135: Reinsberg, op. cit., 64f, 302, Nr. 17, Abb. 25. Pfrommer, "Studien," 94, Anm. 65, 1324 KBk 95. 55. vgl . etwa Pfrommer, GettyMusJ\2> (1985), 12, Abb. 4. 26 Pfrommer des ausgehenden Hel l enismus nachweisen l t . 5 6 Di e anstelle der Zwischenspitzen i n dem Kymat i o n verwendeten Pal metten u nd Bl t e n entsprechen de m Repertoire spt kl assi scher u nd f rhhe l l e ni st i sche r To- reutik, so da man auch das Kymat i o n auf ein f r hhe l - lenistisches Vorbi l d zu r c kf hr e n darf . 5 7 Z U S A MME N F A S S U N G Obwo hl bei der Kanne i n Fo r m u nd De kor i n be- t r c ht l i c he m Umf ang f rhhe l l e ni st i sche Formen zitiert sind, ist sie schwerl ich vor der augusteischen Ze i t gear- beitet worden. Diese spt e Entstehungszeit schl gt sich unter anderem i n der ekl ektischen Bi l du ng der Pans- kopf-Attasche nieder. I m ornamental en Bereich findet sie i hren besten Ausdruck i n den Schwanenatt as chen des Henkel s. Insbesondere der Bl attkel ch l t sich auf das f r h- al exandrinische Repertoire zu r c kf hr e n u nd auch bei anderen Formen l i e e n sich Verbindungen zu pt o l e m - ischen Formen ziehen, wobe i die i m pt o l e m i sc he n g ypt e n vorauszusetzende italisierende, makedonische Ornament t radi t i on i mme r wieder bei dem Bl t e nr e pe r - toire zu m Tragen kam. Di e Dekorat i on i mi t i e r t oder kopiert eine Stilstufe pt ol e m i sc he r Orname nt e nt wi ck- l ung, die uns bisher an Beispiel en dieser Qu al i t t nicht erhal ten ist. Das Ori gi nal oder die Vorbil der der De korat i on w i r d man i m pt o l e m i sc he n Bereich zu suchen haben. Ver- bindet man dies mi t dem mu t ma l i c he n Fundort i m Meer vor Al exandria, so w i r d man auf ein al exandri- nisches Atel ier etwa der augusteischen Ze i t schl i e e n drf en, das gezielt auf das be r ko mme ne eigene Formengut zurckgrif f . Trotz ihrer sp t e n Entstehung steht die Kanne somit i n der Tradition hellenistischer Ge- f ko pi e n. 5 8 Ni c ht mehr zu kl re n ist, ob die Kanne i n Fo r m u nd De kor auf ein einziges Vorbi l d zu r c kge ht , oder ob der al exandrinische Toreut seine Anr e gung vo n verschiedenen Ge f e n u nd Dekorat i onen bezog. Deutsches Arch ol i gi sche s I nstitut, Istanbul 56. Pfrommer, Getty Mus] 13 (1985), 12, Abb. 1, e: A. Diese Eigen- tml ichkeit findet sich auch gelegentlich auf l teren Kymatien. Situla aus Pastrovo i n Plovdiv, Archol ogisches Museum 1847: I . Venedikov, T. Gerassimov, Thrakische Kunst (Wien, 1973), 339, Taf. 107. 57. Zu diesem Mot i v: Pfrommer, GettyMusJ 13 (1985), 11, Abb. 1, c; e.A. 58. Vgl . M. Pfrommer, GettyMusJW (1983), 135-146. The God Apollo, a Ceremonial Table with Griffins, and a Votive Basin Cornelius C. Vermeule Three very different wor ks o f Greek art have come to Mal i b u together (figs. 13). The most reliable i nfor ma- t i on seems to indicate that they were found as a group i n ruins i n a mound, probably i n western Greek lands. The statue o f Apol l o has been carved fr om marble whi ch certainly comes fr om At t i ca, and the t wo elegant objects o f furni turea ceremonial table and a vot i ve basinhave been fashioned out o f marble fr om the Aegean Islands o f Greece, not Thasos i n the nor t h but the area o f Paros or Naxos i n the Cyclades. The purpose o f this study is to argue that all three sculptures were fashioned about the same t i me, near the end o f the four t h century B . C . or at the begi nni ng o f the t hi r d, and that they were made or assembled as a cohe- sive group i n anti qui ty. 1 Furthermore, when considered together, the subjects and iconographic details o f the three objects suggest connections between the Macedo- ni an ki ngdoms after the death o f Alexander the Great and Megale Hellas, the Greek wo r l d i n southern Italy. The powerful personality who l i nked these regions t o- gether at this t i me was Pyrrhus, Ki n g o f Epi rus (319272 B . C . ) , who for a peri od before 283 B . C . con- t rolled hal f o f Macedoni a and Thessaly. Shortly thereaf- ter, he came to the southernmost part o f Italy to help Tarent um i n the struggle against the Romans. At Locr i Epi zephyr i i , located on the ball o f the foot o f the Italian "boot , " i n ancient Br ut t i um (Reggio Cal - abria), Ki n g Pyrrhus struck a silver di drachm that is, to At the Getty Museum thanks are due to John Walsh, Director, Mari on True, Curator, and Arthur Houghton, former Associate Curator, for permission to publish these sculptures. Sandra Knudsen Morgan, former Editor, was, as she has been for well over a decade, a constant source of help and inspiration. Ji fi Frei was extremely helpful wi t h scholarly ideas and general information at the time these sculp- tures first came to notice. At the Museum of Fine Arts, Boston, Jan Fontein, Director, and colleagues i n the Department of Classical Ar t Mar y Comstock, John Herrmann, Florence Wolsky, Emi ly Ver- meule, and Michael Padgetthave been most supportive. 1. These sculptures were catalogued by the present writer as nos. 8, 9, and 10 i n Catalogue of a Collection of Greek, Etruscan and Roman Antiquities (Cambridge, Mass., 1984), when they were i n private hands i n New York and London. Thanks also are offered to the former owners for help i n studying the three sculptures, and other works of art, over the past years. my mi nd, one small piece o f evidence connecti ng the lekanis, or louter (basin), wi t h the trapezophoros (table support); after a few myt hologi cal and geographical speculations, this l i nk can be made to extend to the statue o f Apol l o. These connections suggest that an i m- portant person i n t ouch wi t h bot h Macedoni an and I t al - ian-Greek affairs, perhaps Ki n g Pyrrhus himself, dedi - cated this ensemble i n a sacred area somewhere along the western coast o f the Adri at i c Sea. A P O L L O The yout hful god stands wi t h his wei ght on the left leg, the left hi p t hr own sli ghtly out war d (fig. 1). The r i ght leg and r i ght foot were sli ghtly advanced. There are remains o f a gr i ffi n seated at the left foot, its r i ght wi n g cur l i ng up between the god's left hi p and the cloak wrapped around his left arm. Thi s cloak is dr awn around, and covers most of, the back; i t hangs over the r i ght shoulder wi t h an extra fold. I n his hair the god wears a fi llet, flanked by braids. Thi s fi llet is ti ed wi t h a knot at the back; the t wo ends lie over the carefully arranged hair. At the brow, the hair is tucked under the fillet i n such a way as to allow t wo curls to spiral do wn i n front o f the ears. 2 Apollo' s lowered left hand, perhaps hol di ng an arrow, rested above the wi ngs o f the gr i ffi n, and the r i ght hand, perhaps hol di ng a bow, was raised and extended. Alternati vely, the extended r i ght hand may have held a 2. Accession number 85.AA.108. H (max.): 148 cm (58V4"); W (max. at the rib cage): 46 cm (Wis), (max. at plinth): 57.5 cm (22 5 /s"); D (max. at the left side of the pli nth between the griffin's forepaws): 24.8 cm (9 3 A"). H (max. o f plinth): 3 cm ( I W) . Greek marble wi t h fine but evident crystals, i n my opinion, proba- bly Pentelic and surely from Attica. Remains of an i ron dowel are found i n the rectangular hole below the cloak, against the right shoul- der. The mark of a modern plow runs from below the right shoulder to the middle of the right thigh. The breaks are visible i n the photo- graphs. There are no restorations. The surfaces of the flesh were well finished but were not highly polished. The same is true of the drapery or cloak, both front and back. Hair and diadem are less finely finished, save for the diadem i n front whi ch matches the flesh sur- faces. There are root marks and encrustation at various places over the god, the griffin, and the plinth. See "Acquisitions/1985," The J . Paul Getty Museum Journal 14 (1986), no. 6, p. 181. 28 Vermeule l i bat i on dish (phiale) and the l owered left, the bow, or even bot h a bo w and an arrow. 3 Thi s impressive statue is neither a wo r k o f the pe- r i o d between late Archaic and early Transitional Greek scul pture nor a sleek eclectic creation o f the Pasitelean period i n Naples and Rome o f circa 85 B . C . and later i n the first century. 4 Whi l e incorporating memories o f At - tic and South Ital ian Greek scul pture at the t i me o f the Persian Wars, the stance and the softened forms o f the body mark this carving as a wo r k o f the late f ourt h century B . C . or a generation later, infl uenced by the so- called Praxitel ean traditions o f Greek scul pture. The techniques o f carvingthe f i ni shi ng i n the hair, flesh, diadem, and drapery and the details o f animal and pl inthas we l l as the simpl if ied piecing w i t h dowel s, conf orm to practices o f around 300 B . C . Thi s Apo l l o bel ongs among the rare examples o f so-called " A r - chaizing" Greek art o f the period before the late Hel l enistic age. Research over the past century, particul arl y since the First and Second Wo r l d Wars, makes i t evident that " Archai st i c" Greek art began i n the fifth or f ourt h cen- tury, rather than i n the period o f copyism i n the first century B . C . Mo de r n terminol ogies ( " Archai zi ng, " "Archaistic, " and " Li nge ri ng Archaic") are expl ained by B. S. Ri dgway i n The Archaic Style in Greek Sculpture. 5 The Getty Apol l o, by Ridgway's criteria, can be classed as " Archai zi ng. " I t is "a wo r k o f scul pture whi c h be- l ongs clearly and unequivocal l y to a period later than 480 and whi c h, for al l its differences i n plastic treatment o f drapery and t ri di mensi onal i t y o f poses, retains a few f ormal traits o f Archaic style, such as coiffure, pattern o f folds, gestures or the l i ke . " 6 Unl i ke the Apo l l o f r o m the House o f Menander at Pompei i w i t h its col d, pol ished Figure 1. Statue of the god Apol l o. Greek, circa 320-280 B . C . Marble. H (max.): 148 cm (58 1 / / ); W (max. at the rib cage): 46 cm (18V8 W ); D (max. at the left side of the pl inth): 24.8 cm ( 9W) . Mal ibu, The J. Paul Getty Museum 85.AA.108. 3. A precedent for the griffin as attribute and support placed close to one leg is found i n a statue o f Dionysos wi t h his panther positioned at the bottom o f the drapery that falls from his right wrist; the sculp- ture was found i n a house at Priene. See Theodor Wiegand and H. Schrder, Priene (Berl in, 1904), pp. 368-369, fig. 463. 4. The trul y Roman version o f such a statue is the youthful Ap- ollo i n the Archaic style i n the Museo Nazionale, Naples, from the House o f Menander at Pompeii. See J. B. Ward-Perkins, A. Claridge, and J. Herrmann, Pompeii, A.D. 19 (Boston, 1978), vol . 2, no. 83, p. 148. The archetype o f the Apol l o studied here was copied i n Jul io- Claudian times i n the small marble statue i n the Palazzo della Banca d'ltalia, Via Nazionale, Rome, showing that the original belonged to the first years after, or, i n Sicily, the last moments of, the Persian- Carthaginian wars. See E. Paribeni, " Di un nuovo tipo di Apol l o di stile severo," Antike Plastik 17, Teil 6 (1978), pp. 101-105, pis. 50-52. 5. See Christine Mitchel l Havelock, "Archaistic Reliefs of the Hellenistic Period," AJA 68 (1964), pp. 42, 44, pi. 17, fig. 1, a relief o f Hermes and the nymphs belonging to the fourth century B . C ., circa 320. See B. S. Ridgway, The Archaic Style in Greek Sculpture (Prince- ton, 1977), pp. 303-319, and bibliography, pp. 320-322. 6. Ridgway (supra, note 5), p. 303. The God Apollo 29 Figures 2a-b. Top, Cer emoni al table wi t h gri ffi ns. Greek, circa 320280 B . C . Mar ble. H ( max. at t op o f wi ngs) : 95 c m (37 7 i 6 ") ; W ( max. at pl i nt h) : 20 c m (77s"), (at t op o f wi ngs) : 22 c m (87s"); L ( max.) : 148 c m ( 587 2 ") . Bottom, back. Mal i b u, The J. Paul Get t y Mus e um 85. AA.106. 30 Vermeule Figure 3a. Vot i ve basin. Greek, circa 320280 B . C . Mar bl e. H ( max.) : 30.8 c m (1276"); Di a m ( max. i ncl udi ng handles): 60 c m (237s"), ( max. at r i m) : 56 c m (22"). Mal i b u, The J. Paul Get t y Mus e um 85. AA.107. body and its si lly gr i ffi n l ooki ng li ke a puppy beggi ng for a biscuit, this Apo l l o shows its or i gi nal i t y by i ncor- porat i ng onl y those "Ar chai zi ng" elements, notably the coiffure, necessary to i dent i fy the statue as a moder n ( fourt h century B . C . ) restyli ng o f a venerable i mage wi t h no attempts at academic i mi t at i on. TA B L E SUPPORT: T WO GRI FFI NS A T T A CK I N G A F A L L E N DEER The t wo gri ffi ns crouch over thei r fallen prey, a deer, on a r ough base si mi lar to those used for At t i c funerary animals i n the four t h century B . C . (figs. 2ab). The cur l i ng "I oni c, " or t radi t i onally East Greek, wi ngs are soli d between, each havi ng a large, rectangular and hori zont al slot and a vertical groove on the facing, i nner surface. Thi s arrangement was probably designed for a 7. Accession number 85.AA.106. H (max. at top of wings): 95 cm (37 7 he"); W (max. at plinth): 20 cm (7 7s"), (at top of wings): 22 cm ( 8W) ; L (max.): 148 cm (58V 2 "). Crystalline Greek island marble. There are numerous breaks care- fully mended wi t h small pieces attached but wi t h no restorations. Many traces o f the red, blue, and golden brown colors surviveto wi t , the blue for the griffins' wings, bright red for the griffins' combs, brown or fawn color for the fallen quadruped, red also for the blood around the mouths of the griffins and the areas where their claws have metal or wooden support for the table top, whi ch rested on the cur l i ng upper surfaces o f these wi ngs. 7 The hi gh quali ty o f the carvi ng and the stylistic de- tails o f the animals, notably the eye treated as a raised circle or hal f a ball, all indicate a date o f executi on wi t hi n the peri od o f the last At heni an funerary beasts, whi ch extended fr om around the t i me o f Alexander the Great's death t o the second decade o f the t hi r d century B . C . For the functi onal use o f these gri ffi ns and the deer as part o f a piece o f furni ture, however, we have to seek parallels i n the best decorative carvi ng o f the peri od around 80 B . C . and later, when so many more mo nu- mental marble tables and thei r components survi ve. 8 Evidence fr om Pompei i and Herculaneum confi rms that elaborate tables i n marble or metal had thei r places i n the homes o f the wealthy, but they were also defi ni tely dug into the unfortunate beast. The eyes of the griffins and especially their eyeballs had brown underpainting, and the fallen animal's eyes were red. The pli nth is roughly finished; the griffins' bodies are the smoothest parts of the sculpture. See "Acquisitions/1985," The J. Paul Getty Museum Journal 14 (1986), no. 4, p. 180. 8. This ensemble has also been published, wi thout illustration, by the writer i n "Bench and Table Supports: Roman Egypt and Beyond," Studies in Ancient Egypt, the Aegean, and the Sudan: Essays in Honor of Dows Dunham on the Occasion of His 90th Birthday, June 1, 1980, ed. W. The God Apollo 31 Figure 3b. I nt er i or o f fi gure 3a. part o f the furni shi ngs o f temples and had thei r places i n elaborate tombs. Thi s was probably even more the case i n the peri od around 300 B . C . Gri ffi ns were myt hologi cal creatures associated wi t h Apol l o i n the east, and by Classical ti mes the mo t i f o f these beasts attacki ng a weaker quadruped symboli zed the forces o f ci vi li zat i on over barbarism, the power o f the sun rising fr om the east, or the divine determination o f death (sometimes sudden and qui xoti c) to mortals. 9 As a piece o f furni ture, the subject as treated here was no mere decoration for a Greek garden but was a power- ful statement to be installed i n a major vot i ve context. 1 0 K. Simpson and W. Davis, Jr. (Boston, 1981), p. 183. 9. The ensemble has its painterly parallel on the front side of the neck of the red-figured volute krater by the Aurora Painter, from Falerii of about 325 B . C . See M. Sprenger, G. Bartolini, and M. Hirmer, Die Etrusker, Kunst und Geschichte (Munich, 1977), p. 149, pi. 228. Dietrich von Bothmer has adduced and discussed parallels for the griffins attacking a fallen deer i n Etruscan painting and sculpture of about 300 B .c. i n the publication of an Etruscan red-figured kantharos i n the Metropolitan Museum of Ar t (51.11.10): BMMA 10, no. 5 (1952), pp. 145149, wi t h illustrations of the subject on both sides of the kantharos, on the wall of the Francois Tomb, and on the end of the older of the two Prince of Canino sarcophagi from Vulci i n the Mu- seum of Fine Arts, Boston (86.145). For the sarcophagi, see also M. B. Comstock and C. C. Vermeule, Sculpture in Stone (Boston, 1976), no. 383, pp. 244-246. 10. The same school of Attic or South Italian Greek sculptors who carved the magnificent table support also modeled the two large ter- 32 Vermeule BASI N WI T H SCULPTED DETAILS A ND A PAI NTED SCENE I N THE I NTERI OR The pai nt i ng i n the bowl ' s interior comprises a w hi r l - i gi g o f three nereids, one on a hippocamp and t wo o n ketoi; Thetis is shown hol di ng the shiel d o f Achil l es (figs. 3ab). One other nereid hol ds a cuirass and the t hi r d a hel met. The bo wl has ovol o, or egg-and-dart, mo l di ng around the l i p; fluted handles w i t h floral bases, whi c h j o i n the body as i f cast i n metal and riveted or soldered on; a circul ar f oot enriched w i t h waterl eaf de- sign; and, final l y, bel ow the fillet o f this foot, three animal -f oot supports rising to the circul ar foot w i t h I onic fluting. 11 These animal feet are set o n a t hi n, sl ightl y irregul ar base, and there is a heavy, col umnar support for the entire ensemble underneath. 1 2 Mu c h o f the paint remains, and the colors used are: gol d for the shiel d; purpl e for the nereids' garments; reds and blues for the marine creatures as we l l as the foot o f the bo wl , the ani mal feet, the support, and the pl i nt h. The fragil e nature o f the pai nt i ng i n the interior o f this bo wl , a traditional Greek f ootbath, indicates that the object was not made for practical use but for cere- moni al purposes. Such a basin wo u l d have made a per- fect dedication i n a templ e or shrine; i t coul d also have been made as an of f ering to the gods and shades i n a t omb, al though this particul ar pai nt i ng wi t hi n an object carved circa 300 B . C . wo u l d have conveyed a poi nt ed myt hol ogi cal , dynastic, and pol itical message. The scene o f Thetis w i t h the shiel d o f Achil l es as focal poi nt o f a whi r l i g i g o f nereids and sea creatures is watery i n- deed, as befits a footbath, but its symbol i sm is del iber- ately associated w i t h the Epi rot e ancestry o f the r u l i ng Macedonians ( Al exander the Great t hrough his mother Ol ympi as) and their cousins and renewed connections i n Epi rus. 1 3 The most memorabl e o f these at this t i me was Ki ng Pyrrhus. CONCLUSI ON Between about 320 and 280 B . C . , probabl y closer to the latter date, an Apo l l o standing w i t h his gri f f i n at racotta heads o f stags or deer i n Wrzburg. See E. Simon et al., Fhrer durch die Antikenabteilung des Martin von Wagner Museums der Universitt Wrzburg (Mainz, 1975), p. 226, pi. 56. There are Roman decorative carvings o f comparable quality, but they are rare, e.g., the head of a panther from a table support. See Jacques Chamay i n J. Dri g et al., Art antique: Collections privees de Suisse Romande (Geneva, 1975), no. 375. 11. The famous nereid on a sea beast (ketos) depicted i n relief on the l i d of a pyxis (jar) i n gold and silver from Canosa di Puglia that is now i n the Museo Nazionale, Taranto, is a contemporary parallel. See E. Langlotz and M. Hirmer, Ancient Greek Sculpture of South Italy and Sicily (New York, 1965), pp. 69-70, pi. XX. For other, varied views o f the subject, see H. Sichtermann, "Nereo e nereide," i n Enciclopedia his side was carved i n a style that bl ended late Ar - chaic features w i t h the softened forms o f Praxitel ean youthful ness. To this spl endidl y accompl ished statue was added a table supported by an ensemble consisting o f t wo griffins sl aying a deer. The l eg o f this table was large and strong enough to support a l i ght top o f stone, metal , or wo o d on its o wn; there has been some specul ation that there may have been a pendant trape- zophoros, whi c h wo u l d be i n keeping w i t h the con- struction o f such tables i n the Greek wo r l d f r o m early Hel l enistic to Jul io-Cl audian and Fl avian (Pompeiian) times. Final l y, there is a basin w i t h a l ow, rounded foot, handles, and careful enrichment i mi t at i ng Greek metal - wo r k o f the f ourt h century B . C . The interior o f the basin was painted w i t h a marine myt hol ogi cal w hi r l - i gi g, featuring Thetis r i di ng o n a sea beast and carryi ng the shiel d o f Achil l es. The table support and the basin were also probabl y carved duri ng the years whe n Al exander the Great's successors were consol idating their power, 320 to 280 B . C . The griffins ki l l i ng the deer were carried out as a masterful el aboration i n painted marbl e o f motif s and compositions f amil iar i n South Ital y f r o m the gil ded terracotta reliefs o f Tarent um. 1 4 The basin represented the best i mi t at i o n i n marbl e o f me t al work f rom the Peloponnesus or Tarentum, embel l ished w i t h a painted design popul ar i n the koine o f the f ourt h and t hi r d cen- turies B . C . f r o m Ol ynt hos i n Macedonia to Tarentum and beyond to Etruria. To my mi nd, the chain that l i nks these three works o f art together is the silver didrachm struck by Pyrrhus o f Epirus, Macedonia, and Thessaly at Lo c r i sometime be- fore 280 B . C . (figs. 4ab). 1 5 The reverse o f Thetis o n a sea beast w i t h the shiel d o f Achil l es symbol izes the de- scent o f bot h Al exander the Great and Pyrrhus f r o m that hero; i t is also the mai n device painted i n the i nt e- ri or o f the Getty' s marbl e basin. Grif f ins appear o n the sides o f the hel met o f Achil l es o n the coin's obverse, and these fantastic creatures who conquer i n the east, as di d Al exander and Achil l es, are identif ied w i t h Apol l o, delVarte antica, classica e Orientale (Rome, 1963), vol. 5, pp. 421423, and S. Reinach, Repertoire de peintures grecques et romaines (Paris, 1922), p. 40. 12. Accession number 85.AA.107. H (max.): 30.8 cm (12V8"); Diam (max. including handles): 60 cm (23 5 /s"), (max. at rim) : 56 cm (22"). Crystalline Greek island marble. A curved section is missing at the bowl's ri m, and there are chips around the mol ding o f the ri m. The handles have been broken, repaired, and rejoined. See "Acquisi- tions/1985," The J. Paul Getty Museum Journal 14 (1986), no. 5, p. 180. 13. Gol d medallions from Aboukir wi t h the bust of Olympias on the obverse and Thetis i n a nereid and triton composition on the reverse are work o f the late Severan period (A . D . 230) i n the tradition of early Hellenistic Macedonia. See The Search for Alexander: An Ex- hibition (Boston, 1980), nos. 10, 11, pp. 103-104. A ful l bibliography on The God Apollo 33 Figures 4a-b. Left, Didrachm (obverse). Struck at Locri by Ki ng Pyrrhus of Epirus, before 280 B . C . Silver. Diam: 23.5 mm ( 1 5 / i 6 " ) . Right, reverse. Boston, Museum of Fine Arts, Theodora Wil bour Fund i n Memory of Zoe Wilbour, 1985.235. Photos: Courtesy Museum o f Fine Arts, Boston. Figure 5. Roundel wi t h bust of Apol l o. Early Hellenistic period. Gilded silver. Diam: 7 cm (2 3 A ") . Boston, Museum of Fine Arts, Theodora Wil bour Fund in Memory of Zoe Wilbour, 1985.333. Photo: Courtesy Museum of Fine Arts, Boston. a fact made clear by the presence o f the beast beside the god i n the Getty's marbl e statue. Zeus, Demeter, and Kore, rather than Apol l o, were the major divinities o f Lo c r i . 1 6 Apo l l o was present i n a secondary way at Rhegi um, around the toe o f the I t al - ian " bo o t " f r o m Lo c r i Epizephyrii, but at Caul onia j ust to the northeast, across the Sagras River, he was the major patron di vi ni t y. Caul onia, however, was de- stroyed by Dionysius I o f Syracuse about 388 B . C . , and its t erri t ory was presented to the Locrians. 1 7 Rhe gi um was treated i n simil ar fashion i n 387, but this ci t y was restored by Dionysius I I before 350 B . C . I t was at this t i me (350300 B . C . ) that Rhegium' s bronze coinage fea- tured a yout hf ul Apo l l o w i t h l ong hair simil ar to the image on a sil ver-gil t plaque o f the f ourt h century B . C . (fig. 5) . Thus, i n a shrine to Apo l l o early i n the t hi r d century B . C . , i t wo u l d seem suitable that a statue o f the god be " Archai st i c" to recall Caul onias famous image o n silver staters o f 550 to 480 B . C . , al beit i n an updated scul ptural f orm. Apo l l o Katharsios had cured the Sagras coast o f plagues. Co u l d this ensemble, the statue, the table, and the basin have been the dedication o f a promi ne nt Epi - rote Macedonian, l i ke Ki ng Pyrrhus, intended to keep the armies i n Megal e Hel l as free o f illness as we l l as f r o m the surging power o f Rome? Such is a possible expl anation for three such unusual masterpieces o f Greek scul pture and pai nt i ng i n a single context. Gi ven the theme o f Thetis w i t h the shiel d o f Achil l es on the inside o f the marbl e basin (fig. 3b) and o n the reverse o f the didrachm o f Pyrrhus (fig. 4b), there shoul d have been arms and armor f ound w i t h this dedi- cation. Such armor ought to have been o f the highest artistic l evel and finest qual ity produced i n the Greek wo r l d i n the age o f Al exander the Great or the t wo generations o f his successors and relatives. Figural de- nereids wi t h the arms o f Achilles is given by Stella G. Mil l er, "Eros and the Arms of Achilles," AJA 90 (1986), p. 159, n. 2. 14. See Lidia Forti and At t i l i o Stazio, "Vita quotidiana dei Greci d'ltalia," i n Megale Hellas: Storia e civilt della Magna Grecia ( Mil an, 1983), p. 699, fig. 720, an example of a griffin and a stag, a heavily gilded relief i n just the schema o f this table support. H. Hoffmann, Ten Centuries That Shaped the West: Greek and Roman Art in Texas Collections (Houston, 1970), no. 135, p. 280, on the general meaning of these plaques. H. Herdejrgen, Die tarentinischen Terrakotten des 6. bis 4. Jahrhunderts v. Chr. im Antikenmuseum Basel, Verffentl ichungen des Antikenmuseums Basel, Band 2 (Basel, 1971), nos. 71, 72, pp. 6869, pl . 21, a stag facing a griffin as pendant plaques. 15. This specimen is from the J. Vinchon sale, Monte Carlo, Apri l 13, 1985, l ot 269. E. S. G. Robinson, Lloyd Collection, vol . 2 o f Sylloge Nummorum Graecorum (London, 1933), no. 657, pl . XXI . 16. See E. Langlotz and M. Hirmer (supra, note 11), p. 271, pis. 7175, terracotta reliefs from Locri, dating about 450 B . C . These re- liefs feature stylistic details o f up to hal f a century earlier, perhaps setting the taste that produced the "Archaistic" marble Apol l o of the late fourth century B . C . 17. B. V. Head, Historia Numorum (Oxford, 1911), pp. 92-94. At - til io Stazio, "Moneta e scambi," i n Megale Hellas: Storia e civilt della Magna Grecia (Mil an, 1983), pp. 122-123, 136, figs. 94-99. 18. See Sale 6, Bank Leu A. G, Zurich, May 8, 1973, lots 43, 44. 34 Vermeule tails certainly wo ul d have been i ncluded, and the sub- jects, again, ought t o have been l i nked wi t h the myt hs o f Achi lles, the greatest Greek hero and an ancestor o f Alexander and Pyrrhus. There is a scrap o f evidence that meets all these cri te- ria, i ncl udi ng the possibilities o f provenance. The left shoulder-plate o f a bronze cuirass features a female head i n an Amazoni an cap, the side flaps o f whi c h t ur n i nt o decorative volutes at the cur vi ng edges o f the back- gr ound (fig. 6). She wears earrings o f Lydi an or I oni an for m and a slender torque wi t h a flower suspended fr om i t . Thi s sad-faced Amazon can onl y be Queen Penth- esilea, and her sli ght i nwar d t ur n o f the head affirms the deducti on that another head rose out o f the opposite shoulder-plate. 1 9 The head on the wearer's ri ght , the place o f honor, could onl y have been Achi lles. The body o f the cuirass was probably undecorated, beyond suggesting the ideal anatomy c o mmo n t o such objects at the t i me, but the complete ensemble wo ul d have been fully wor t hy o f a pri ncely dedication i n the Italic after- mat h o f Alexander the Great. 2 0 Museum o f Fine Ar t s Bost on Figure 6. Queen Penthesilea on the left shoulder-plate of a cuirass. Early Hellenistic period. Bronze. H: 16 cm ( 6 5 / i 6") . Boston, Museum of Fine Arts, Frank B. Bemis Fund, 1986.242. Photo: Courtesy Museum of Fine Arts, Boston. 19. H (max.): 16 cm ( 6 5 / i 6") ; W (max.): 12 cm (4 n /ie"). The patina is the rich, deep green of the finest Greek metalwork from 350 to 275 B . C . 20. The comparable right shoulder-plates (covering the straps) of Greek bronze cuirasses of the fourth century B . C . are collected on pp. 5154 of Arnold Hagemann, Der Metallharnisch, vol. 1 of Griechische Panzerung: Ein entwicklungsgeschichte Studie zur antiken Bewaffnung (Leipzig and Berlin, 1919). The famous Siris Bronzes i n the British Museum (pp. 5152, fig. 62) are basically the left and right shoulder- plates and back o f the neck and shoulders of such a piece of armor. Also, H. B. Walters, Catalogue of the Greek, Roman, and Etruscan Bronzes in the Department of Greek and Roman Antiquities (London, 1899), no. 285, pp. 39-40, pi. VI I I . In reasonably high relief, mirrored pairs of Greeks attack fallen Amazons, similarly balanced. They are possibly Achilles slaying Penthesilea on the left, and Ajax Oileus dispatching Derinoe on the right. The southeast coast of Italy as well as western Mainland Greece, the Peloponnesus, and, lately, Mace- donia or Thrace are the sources for a number of these plates or cover- ings for cuirass fastenings. Two Pieces of Porcelain Decorated by Ignaz Preissler in the J. Paul Getty Museum Maureen Cassidy-Geiger The Bresl au physician and chronicler, Johann Chri s- tian Ku ndmann (16841751), wr i t i ng i n 1726 on the no- table col l ections o f art, books, instruments, and c u r i - osities to be f ound i n his city, reported that a man named "Preussler" had worke d for seven years decorat- i ng over one hundred pieces o f porcel ain i n grisail l e and wi t h gi l di ng for the promi ne nt col l ector He rr Ernst Benj ami n von Lwe nst dt und Ronneburg (d. 1729). I n the mi ddl e o f the l engthy descriptions o f von Lwe nst dt ' s Kunst- und Raritten-Kammerwhich f o l - l o w an enumeration o f the paintings, bronzes, and carved scul pture and a summary o f the artists repre- sented i n prints and drawings and whi c h precede a comprehensive l i st i ng o f the numerous and varied c ur i - osities i n the col l ect i onKundmann states that "Gantz was sonderbares hat Er i n Ost-Indischen Porcellain gesamml et von al l erhand Farben; insonderheit besitzet Er be r 100. St ck grosse Schalen, Teller u nd andere Gef sse vo n Preusslern i n grau u nd grau gemahl et; Ja Er hat Selbsten es so wei t gebracht, dass Er unter- schiedliche Porcellaine Becher vergol den und doch noch darauf mahl en lassen: Worzu er gantzer V I I . Jahr gedachten Preussler gehalten." 1 I n 1737, Ku ndmann reported that after von Lwe nst dt ' s death his entire "cabinet" o f porcel ain decorated by "Preussler," i ncl udi ng many vessels, plates, bowl s, teabowls, and saucers, was acquired by Franz, Co u nt von Hatzfel d, I mperi al Counci l or and Frey Standes-Herr i n Silesia. 2 A fire at the Hatzf el d estate i n the eighteenth century is presumed to have destroyed most o f the f ami l y treasures, i ncl udi ng the porcel ain col l ect i on. 3 I t therefore becomes obvious f rom the large body o f remai ni ng wo r k by Preissler (the cor- rect spel l ing o f the artist's name) that he had other c l i - ents duri ng the seven years he was wo r ki ng on von Lwe nst dt ' s commission. 1. Johann Christian Kundmann, Promtuarium rerum Naturalium et Artificialium Vratislaviensae (Vratislaviae, 1726), p. 62. I wish to thank the Archdiocese o f Wroclaw for permitting me the use of their library where I consulted this and other volumes by the same author. 2. Johann Christian Kundmann, Rariora naturae & artis oder Selten- Bresl au (present-day Wrocl aw, Poland) was the capital o f Silesia, a province under Hapsburg rule. From the Renaissance, i t was an i mport ant center for the arts, notabl y met al worki ng, and i n the eighteenth century i t developed i nt o an i mport ant intel l ectual and rel igious center. Cont emporary travel guides praised the city for its many fine l ibraries and museums. The nobi l i t y wi t h estates i n Silesia and palaces i n Prague and Vienna bui l t new palaces i n Breslau, thereby attracting l eading artists and craftsmen to the city. The gl assmaking industry was l ong established i n the region, and the heavil y wooded estates were cleared by the glassworks, whi c h were permi t t ed to operate on their lands. Given these developments, Bresl au i n the 1720s became a center o f Hausmaler activity (a Hausmaler being a craftsman who decorated glass and ceramic wares on a free-lance basis, either independently or i n a workshop not affiliated wi t h any factory operation). I t is therefore not surprising that the wo r k o f the Hausmaler referred to as "Preussler" (also the name o f a promi ne nt f ami l y o f glassmakers i n Bohemia) was described i n detail i n contemporary chronicles and was val ued as a collector's i t em. Various porcelains wi t h Schwarzlot decoration ( l iter- al l y Schwarzlot means "bl ack lead," but i t is actually a transparent black enamel painted onto the surface and scratched t hrough wi t h a needle before f iring) that can be attributed to Preissler were already i n the col l ection o f Augustus the Strong i n 1721, and others were added i n 1722. These pieces are described i n the Inventarium ber das Palais zu Alt-Dresden Anno 1721 under the chap- ter heading "Weiss Schsische Porcelain" as f ol l ows: N.7. 3. Stk. extra feine runde am Rand vergoldete Chocolate Tassen u. Schaalen, darauff mit einer rothen Couleur sauber en Crotesque gemahlet ist; Diese Arbeit is in Phmen gefertiget worden, und jede Tasse und Schaale ist von differenter heiten der Natur und Kunst des Kundmannischen Naturalien-Cabinets (Breslau and Leipzig, 1737), pp. 640641. 3. Gustav E. Pazaurek, Deutsche Fayence- und Porzellan-Hausmaler (Leipzig, 1925), vol . 1, p. 209, n. 6. 36 Cassidy-Geiger Ze i chnung. Zwe y Tassen darvon sind schadhafft, jede aber 3. Z. t i e f f u nd 272. i n di am. eine Schaale aber 3 A . Z. t i e f f 5. Z. i n di am. ( The above entry correctl y assigns the decoration to a Bohe mi an painter.) N. 8. 3. Stk. dergl . Chocol ate Tassen u. Schaalen, so mi t schwarzer Farbe en Crotesque gemahl et sind, es sind alle vo n differenter Ze i c hnung u nd jede Tasse 3. Z. tieff. 272. Z. i n di am. eine Schale aber 74. Z. tieff. 5. Z. i n di am. Hi e r zu g e h r e t ein auswen- di g brauner Spiel Napf f darauf f Ne pt unus mi t al - l erhandt Nayaden u nd Tri t onen, sehr sauber schwarz u nd gol dt Gemahl et ist, i nwe ndi g ist f ein schwarz Crotesque Arbe i t . 3. Z. tieff. 672. Z. i n di am. 4 Anno 1722 i m Mo nat h Juny haben I hr o K ni g l . Mayt . vo n de m He r r n Grafen Lagnasco be ko mme n u. i n das Palais gegeben, wi e fol get: N. 64. 2. stk. Kr uge i ge n darauf Ho l l . Paysagen mi t r o t h u nd schwartzer Coul e ur amal iret sind, mi t He nc ke l n so vergol det sind. 4. Z. t i e f f u. 372 Z. i n di am. N.65. 2. stk. dergl . darauf f Wasser Jadgen mi t schwart- zer Coul e ur amal iret sind, vo n obiger H he . 5 A beaker, saucer, and bo wl corresponding to those numbered "N. 7. " and " N. 8. " are st i l l i n the Porzel l an- samml ung o f the Staatliche Kunst samml ungen Dresden ( PO 3130 and 3132). 6 A l l three are not, however, o f Meissen porcel ain but are o f Chinese porcel ain deco- rated i n underglaze bl ue or iron-red. Two smal l tan- kards corresponding to those numbered "N. 64. " and "N. 65. " were il l ustrated i n 1925 but are no l onger i n the col l ect i on. 7 Kundmanns accounts and the 1721 i nvent ory o f A u - gustus the Strong's col l ection demonstrate that Preissler obviousl y worke d for patrons o f weal th and rank and that his wo r k was wi de l y admired and col l ected i n his o wn l i f et i me by members o f the aristocracy. I t was not u nt i l the t we nt i e t h century, however, that authors returned to the subject o f Ignaz Preissler and brought to l i ght church and archival records that provided his given name, the correct spel l ing o f his surname, and some details o f his l ife. I n the i nt erveni ng centuries, his works retained their appeal for collectors, but because 4. Parts o f the inventory are transcribed i n Bttgersteinzeug Bttger- porzellan aus der dresdener PorZellansammlung (Dresden, 1969). This sec- tion appears on p. 36. 5. Ibid., p. 40. 6. I woul d l ike to express my thanks to Dr. Ingelore Menzhausen and Dr. Friedrich Reichel for their generous assistance during my visit to the collection. The bowl is illustrated i n Dr. Menzhausen's article "Das erste Inventar der dresdener Porzellansammlung," Keramos 12 none are signed and few are dated, their histories were lost. I nf ormat i on publ ished i n the 1920s and 1930s i nt r o - duced Ignaz Preissler as a porcel ain and glass painter wo r ki ng i n Kronstadt (present-day Kunst t ) , Bohemia, circa 17291732, for Franz Kar l , Co u nt Liebsteinsky vo n Kol owrat (d. 1753). 8 That the "Preussler" wo r ki ng i n Bresl au i n the 1720s is the same Ignaz Preissler wo r ki ng i n Kronstadt circa 1729 was ori gi nal l y debated but is no l onger i n doubt. He was born i n Friedrichswal de (present-day Bedrichovka), on the border o f Bohemia and Silesia, i n 1676, the son o f a porcel ain painter named Dani el Josef Norbert Preissler (circa 16361733) and his wife, Dorot a (nee Kel l er, d. 1723). He moved w i t h his f ami l y to Kronstadt, his mother' s vil l age, i n 1680/81 and returned there later i n his l ife to wo r k and care for his el derl y father, whose second wi f e had died i n 1730. I g - naz Preissler's o wn first wife, Anna Steiner, also died i n 1730, and the f ol l owi ng year, he married Zuzana Uhr ban o f the nei ghbori ng vil l age o f Kerndorf . He died i n 1741 at the age o f sixty-five. A son, also named Ignaz, was apprenticed to a tail or i n Reichenau (present-day Rychnov) , the Kol owrat f ami l y seat, l ocated about t hi r - ty-f ive kil ometers f rom Kronstadt. The wo r k o f the Kronstadt period can be determined using documents f rom 17291732, whi c h consist o f invoices and letters exchanged between Preissler and his patron, Co u nt von Kol owrat , or his patrons ser- vant Tobias Hannusch, a close f riend o f Preissler's and hi mse l f a porcel ain and glass decorator at Reich- enau. 9 The documents reveal, among other things, that Preissler painted chiefl y chinoiseries, but also " di f f i cul t poetic subjects," on porcel ain ( pri mari l y oriental ) and glass provided by the count. He worke d pri mari l y i n Schwarzlot and i ron-red wi t h gol d but began to use purpl e monochrome and pol ychrome colors at the end o f this period. The wo r k bel onging to the Bresl au period was brought i nt o focus i n 1983 i n an article by Annedore M l l e r - Ho f st e de , whi c h was publ ished i n Keramos. 10 Thi s year w i l l see the publ ication i n the Journal of Glass Studies o f an article by Ru do l f Strasser i n whi c h he at- tributes a group o f glasses to the Bresl au period and another group to an even earlier period, circa 16951715, whe n the painter was i n his twenties and thirties. The (1961), p. 27, fig. 1. 7. Illustrated by Pazaurek (supra, note 3), p. 219, figs. 183, 184. 8. See the fol l owing: F[rantisek] X[aver] Jink, " K dejinam por- cul nu v Cechch. Domcky malir skia a porcul nu v Kunsttu Igna- tius Preissler (17281732)," i n Zprdva Kuratoria za Spravni Rok 1923 (Prague, 1924), pp. 24-41, pis. I I I , I V; Pazaurek (supra, note 3), pp. 209-249; Frantisek Xaver Jifik, Ceske Sklo . . . (Prague, 1934), pp. 5152; Annedore Ml l er-Hofstede, "Der schl esisch-bhmische Two Pieces of Porcelain 37 Figure la. Ignaz Preissler ( Bohemi an, 16761741). Bo w l decorated w i t h allegories o f spring ( interior) and summer ( exterior) , circa 17151720. Chinese porcel ain w i t h undergl aze-bl ue decoration and overglaze decoration i n Schwarzlot and gol d. H : 7.3 c m (27s"); Di am: 14.9 c m (57s"). Mal i bu , The J. Paul Ge t t y Mu s e u m 86.DE.738. decoration o f these groups o f glasses, i n particul ar, sug- gests that Preissler may have trained i n Nure mbe rg be- fore arri vi ng i n Bresl au and therefore wo u l d have been one o f the last o f the fol l owers o f Johann Schaper (16211670), the glass painter credited wi t h the transfer o f the Schwarzlot technique f r o m flat glass to hol l ow glass and faience. I n the wake o f this recent interest i n Ignaz Preissler's early years i n Breslau, the Department o f Decorative Art s o f the J. Paul Getty Mu se u m has acquired t wo i mport ant examples o f his wo r k f rom this period. One is a bowl o f Chinese porcelain decorated i n Schwarz- lot w i t h myt hol ogi cal scenes. The other is a leaf- Hausmaler Ignaz Preissler," Keramos 100 (1983), pp. 350. I wish to acknowledge the generous assistance of the late Dr. Zdenka Munzer in the translation of the works published in Czechoslovakian. 9. These documents were first published by Jink (supra, note 8) in 1923 and were reprinted by Ml l er-Hof stede (supra, note 8), pp. 4450. The surname of the painter referred to as "Tobias" in the documents was provided to me in 1984. The significance of his rela- tionship to Ignaz Preissler wi l l be brought to l ight i n Rudol f Strasser's shaped dish o f Meissen porcel ain w i t h decoration i n iron-red and gol d. The bo wl (figs, lah) is a type o f porcel ain produced between circa 1710 and 1740. 11 I t has incised floral-scroll decoration beneath the glaze on the outside, framed by diaper-patterned borders i n underglaze blue; on the i n- side, the same borders are painted around the r i m and i n the center, f o r mi ng a wreath. Thi s was the type o f o r i - ental porcel ain used most frequentl y by Preissler, and i t was also used by Hausmaler wo r ki ng i n Augsburg, circa 17251730. 12 It is obviousl y that described i n the i n- voices f rom the Kol owrat commissions as "Weijss mi t Bl awen Randt." The lack o f bol dl y decorated sur- forthcoming article in the Journal of Glass Studies. 10. Ml l er-Hofstede (supra, note 8). 11. Regina Krahl et al., Chinese Ceramics in the Topkapi Saray Museum Istanbul . . . (London, 1986), vol . 3, p. 952. 12. Rainer Rckert, Meissener Porzellan 1710-1810, ex. cat. (Munich, 1966), nos. 53-55, pp. 60-61, pis. 17, 18. 38 Cas sidy-Geiger Figure lb. De t ai l o f the exterior o f f igure l a. Figure 1c. De t ai l o f the exterior o f f igure l a. Figure Id. De t ai l o f the exterior o f f igure l a. faces probabl y made this type o f bl ue-and-white ware less attractive as a cabinet piece and more suitable for use as a sort o f " bl ank" ware to be painted by the Hausmaler and refired i n their muf f l e-kil ns. Preissler added the myt hol ogi cal scenes painted i n Schwarzlot w i t h touches o f gol d that decorate the inside and outside o f the bo wl . He often decorated the inside or underside o f dishes, bowl s, and vases, t hough gener- al l y not w i t h such f ul l pictorial scenes but wi t h a f o r m o f auxil iary decoration. The l atter was often comprised o f ornamental wo r k, i n some cases encl osing isolated f igural elements. Traces o f gol d over the undergl aze- bl ue borders on the Getty bo wl suggest that they were ori gi nal l y hi ghl i ght ed w i t h gi l di ng, a feature o f other wares o f this type decorated by Preissler. The scenes depicted can be traced to a series o f en- gravings after a cycle o f the four seasons by Pierre I . Mi gnar d (16121695), whi c h was painted i n 1677 for the Galerie d' Apol l on i n the Chateau de Saint-Cl oud. The scene on the interior o f the bo wl , whi c h shows the marriage o f Flora and Zephyr (fig. l g) , represents spring, and the sacrifice o f Ceres on the exterior (fig. I d) represents summer. Louis XI V' s brother, Monsi eur ( Phil ippe I , due d' Or- leans), acquired the chateau i n 1655 and commissioned Mi gnard, Le Bruns rival and later his successor, to deco- rate the galerie. The compl eted program was wi de l y acclaimed, according to Mignard' s biographer, the Abbe de Mo nvi l l e , and even the ki ng is reported to have said, "Je souhaite fort que les peintures de ma gallerie de Versailles repondent la beaute de cel l es-ci." 1 3 The paintings, whi c h were destroyed i n the 1870 fire Two Pieces of Porcelain 39 Figure le. I nt eri or o f f igure l a. at the chateau, are evoked i n Monvil l e' s el oquent de- scriptions o f them: La Terre sous le symbol e de Cybel e, elevant vers le de l ses tristes regards, i mpl o r e le retour de Sol eil , qu' on appercpit dans l ' el oignement, sans eclat, presque sans l umiere. C' est une image si vraie t out ensembl e & si poetique, que le spectateur reconnoit l ' hyver, dont les f c he u x effets sont excel l emment exprimez. I ci le Di e u d' un fleuve appuie sur son urne, n en voi t sortir que des glacpns: l des vaisseaux sur une mer agitee paroisserit le j oue t des vents & de la tempete; Boree & les f ougueux Aqui l ons souffl ent par t out la neige, le gresil Sc les f rimats: les Hyades i nondent les campagnes de pl uyes; Vul cai n presente Cybel e u n brasier, auquel se chauffe u n enfant qui est derriere la Deesse; ses l ions sont ses pieds, il s sembl ent avoir perdu une partie de l eur ferocite, & partager l ' abattement de t out le reste de la nature. 40 Cassidy-Geiger Figure If. Detail of the interior of figure la. Figure lg. Detail of the interior of figure la. Figure lh. Detail of the interior of figure 1; Le Printems designe par l ' Hymen de Zephire & de Flore, offre aux yeux une belle campagne, ou la nature rajeunie, prodigue les fleurs les plus precieuses: Flore en recpit rhommage des mains de Zephire; les Amours, les Ris & les jeux melez avec les Nymphes, paroissent occupez choisir les fleurs les plus belles, & en composer des des [sic] guirlandes: un elegant badinage prete encore des graces nouvelles l'agrement infini de tableau: les personnages episodiques qu'on y a introduit sont enjoez. Le Peintre a represents l'Ete par un sacrifice en l ' hon- neur de Ceres. Au mil ieu d'un champ fertile, des moissonneurs dont on l it la joye sur le visage, rendent genoux, graces cette Deesse: tous ont des flambeaux la main, la reserve d'un petit nombre de laboureurs chargez des premices de leurs gerbes, qu'ils offrent la Divinite qui preside l'Agriculture: son image est por- tee par quatre de ses Pretresses d'une beaute & d'une modestie admirable. Un Sacrificateur amene un agneau orne de fleurs, pret etre immole. Dans l'enfoncement on appercpit le Temple de Ceres, l'architecture en est simple, mais noble; i l en fort de jeunes Pretresses dan- sant au son de leurs tambours. L'on a ressemble avec soin tout ce qui peut servir caracteriser la saison; Mi - gnard a sou peindre, pour ainsi dire, la chaleur de l'Ete. On ne pouvoit rien choisir de plus convenable pour faire de l'Automne le sujet d'un tableau, que le triomphe de Bacchus & d'Ariane: ils descendent d'un char, d' o les Amours detellent les pantherres qui l'ont traine: une troupe d'hommes couronnez de pampre, & qui embouchent la trompettte [sic] les entourent; une Bacchante les precede en dansant: pleins du Dieu qui les possede, ils semblent tous crier euoe) euoe. Le pere Silene porte par des Sylvains, & suivi de son cortege or- dinaire, est v dans l'eloignement un sep de vigne charge de raisins la main. Le Amours qui se con- fondent dans cette troupe bachique, montrent qu'ils ont part la fete. 14 I n the "Catal ogue Des oeuvres graves d'apres les Tableaux de Pierre Mi gnar d premier Peintre du Roy, " whi c h Mo nvi l l e incl uded i n his biography o f the painter, t wo o f the engraved series are mentioned: Les quatre Saisons de l'annee, representees par des su- jets de la Fable, en quatre tableaux, peints dans la gal- lerie de S. Cloud, gravez par Jean-Baptiste de Poilly [1669-1728]. D'autres estampes en petit des memes tableaux, gravees d'apres les precendens, sous la conduite de Jean-Bap- tiste de Poilly. Le Printems: Thymen de Zephyre & de Flore. L'Este: un 13. Simon Philipe Maziere de Monvil l e, La vie de Pierre Mignard . . . (Amsterdam, 1731), p. 102. The first edition was published i n Paris i n 1730. Two Pieces of Porcelain 41 Figure 2a. Jean Bapti ste de Poi l l y (French, 16691728), after Pierre I . Mi gnar d. he Printems, circa 1710. Engr avi ng. H: 51.7 c m ( 20W) ; W: 69.4 c m ( 27 5 / i 6") . L o n d o n , Br i t i s h Mus e um 195140-6-21. Figure 2c. Jean Bapti ste de Poi l l y (French, 16691728), after Pierre I . Mi gnar d. L'Automne, circa 1710. Engr avi ng. H: 51.2 c m ( 20 3 / i 6 ") ; W: 69.1 c m ( 27 3 / i 6") . L o n d o n , Br i t i s h Mus e um 1951-10-6-23. Sacrifice en l' honneur de Ceres. LAut o mne: le Tr i omhe [sic] de Bacchus & Ar i adne. L' Hyver : Cybel l e i mpl or ant le ret our du Solei l. 1 5 De Poilly's engravings (figs. 2ad) are the reverse o f Mi gnard' s studies for the pai nti ngs and therefore were either engraved di rectly fr om the pai nti ngs or fr om the studies. 1 6 The scenes on the Get t y b o wl are i n the re- Figure 2b. Jean Bapti ste de Poi l l y (French, 1669-1728), after Pierre I . Mi gnar d. L'Este, circa 1710. Engr avi ng. H: 51.8 c m ( 20W) ; W: 69.5 c m (277s"). London, Br i t i sh Mus eum 1951-10-6-22. Figure 2d. Jean Bapti ste de Poi l l y (French, 16691728), after Pierre I . Mi gnar d. L'Hyver, circa 1710. Engr avi ng. H: 51.5 c m ( 20 5 / i 6 ") ; W: 69.2 c m ( 27 1 / / ) . L o n d o n , Br i t i s h Mus e um 1951-10-6-24. verse o f de Poilly's engravings for spri ng and summer, and therefore, they must derive fr om a reengraving o f de Poi lly s series, perhaps the second series described by Monvi l l e. The pri nts fr om this second series are smaller i n scale. Since they were produced under de Poilly's di recti on, they are probably accurate copies but wo ul d read i n the reverse o f his ori gi nal series. Prints fr om the 14. Ibid., pp. 94-97. 15. Ibid., pp. livlv. 16. Jean Guiffrey et al., Inventaire general des dessins du Musee du Louvre et du Musee de Versailles (Paris, 1928), vol. 10, nos. 9949-9952, pp. 52-55. 42 Cassidy-Geiger Figures 3a-b. Left, Ignaz Preissler ( Bohe mi an, 16761741). Top o f a dish decorated w i t h al l egories o f f al l ( top) and wi nt e r ( bot t om) , circa 17151720. Chinese porcel ain w i t h undergl aze-bl ue decoration and overglaze decoration i n Schwarz- lot and gol d. Di am: 22 c m (S n 7\6 f ). Right, bo t t o m. Sevres, Musee Nat i onal de Cerami que M N C 9703. Photos: Court esy Musee Nat i onal de Ceramique, Sevres. second series are not kno wn. The prints representing fal l and wi nt e r are the sources for the scenes on a dish i n the Musee Nat i onal de Ceramique at Sevres ( MN C 9703). The dish (figs. 3ab) was il l ustrated by M l l e r - Ho f st e de who at- tributed i t to Preissler wo r ki ng i n Bresl au "before 1720." 1 7 I t is o f the same Chinese porcel ain as the Getty bo wl w i t h incised and undergl aze-bl ue decoration and is decorated o n bot h sides i n Schwarzlot w i t h touches o f gol d. The r i m is edged i n sil ver-gil t. The t r i u mph o f Bacchus and Ariadne is painted on the top (fig. 3a), a conventional al l egory for fal l . The scene on the under- side (fig. 3b) was interpreted by M l l e r - Ho f st e de as the Ovi di an flood w i t h the survivors, Deucal i on and Pyr- rha, i n the f oreground. I n the context o f the pri nt series and Mi gnar d s cycle, however, the scene is intended as an al l egory for wi nt e r and depicts Mignard' s unusual and hi ghl y ori gi nal rendering o f the subject. Cybel e, the "earth mother, " wearing her turreted crown and recl i n- i ng o n the l ions usual l y shown pu l l i ng her chariot, i m - plores the sun to ret urn whi l e Boreas, the col d nor t h w i nd and personification o f winter, releases his snow- 17. Ml l er-Hof stede (supra, note 8), pp. 23-26, figs. 34-37. 18. This information courtesy o f Elisabeth Fontan, formerly con- servateur, Musee National de Ceramique, who wi t h Mme Antoinette Halle graciously permitted me access to this and other pieces i n the filled breath over the earth. Vul can tries to war m the recumbent Cybel e w i t h a pot o f coals f rom his forge. The incl usion o f a river god relates to the story o f Cl audia, the vestal vi r g i n who pul l ed a ship l oaded w i t h a sacred image o f Cybel e f r o m the mu d at the mo u t h o f the Tiber. Since the images o n the t wo pieces bel ong to the same series, there is no question that the Getty bo wl and the dish at Sevres were commissioned together and f o r m a set. The dish was acquired by the Musee Nat i onal de Ce- ramique f r o m the 1894 sale o f the col l ection o f Octave Du Sartel . 1 8 D u Sartel had assigned the origins o f this type o f decoration to Venice i n his book La porcelaine de Chine . . ., publ ished i n 1881, and called i t "extremel y rare." 1 9 The dish appeared i n l ot 150 i n the catalogue o f the sale as the pair to another dish o f the same so-called Japanese porcel ain, whi c h was also painted o n bot h sides i n Schwarzlot touched w i t h gol d and edged i n si l - ver-gil t. The subject o f the scene on the top o f the other dish i n the l ot (fig. 4a) was identif ied i n the catalogue as Diana and Endymi o n, but the dish is al most certainl y that f ormerl y i n the vo n Dal l wi t z col l ection, whi c h de- museum. 19. Ofctave] Du Sartel, La porcelaine de Chine . . . (Paris, 1881), p. 219. Two Pieces of Porcelain 43 Figures 4a-b. Left, Ignaz Preissler (Bohemian, 16761741). Top of a dish decorated wi t h Venus and Adonis wi t h cupids (top) and nymphs disarming sleeping cupids on the order of Diana (bottom), circa 17151720. Chinese porcelain wi t h underglaze-blue decoration and overglaze decoration i n Schwarzlot and gold. Formerly Berlin, von Dallwitz collec- tion; present location unknown. Illustrated i n Kunst and Kunsthandwerk 8 (1905), p. 29. Right, bottom. Photo: Courtesy Verlag Anton Hiersemann, Stuttgart. Figure 5a. Benoit I . Audran (French, 16611721), after Francesco Albani. Venus and Adonis wi t h cupids. Engraving. H: 29.4 cm ( l W) ; W: 34 cm (13W). New York, The Metropolitan Museum of Art , Harris Brisbane Dick Fund, 1953 (53.600.4138). Photo: Courtesy The Metropolitan Museum of Art , New York. Figure 5b. Benoit I . Audran (French, 16611721), after Francesco Albani. Nymphs disarming sleep- ing cupids on the order of Diana. Engrav- ing. H: 29.7 cm ( ll 1 1 / * ") ; W: 34 cm (13 3 /s"). New York, The Metropolitan Museum of Art , Harris Brisbane Dick Fund, 1953 (53.600.4137). Photo: Courtesy The Metro- politan Museum of Art , New York. 44 Cassidy-Geiger picts Venus and Adoni s w i t h cupids after the rendering o f the subject by Francesco Al bani (15781660). 20 The scene on the underside (fig. 4b) shows nymphs disarm- i ng sleeping cupids on the order o f Diana. Engravings after Al bani by Benoi t I . Audran (16611721) were i den- tif ied as the source for the scenes on bot h sides o f the dish by A. Br ni ng i n 1905 (figs. 5a- b) . 2 1 Al bani' s paintings, l i ke Mignard' s cycle, were popul arized i n sets o f tapestries as we l l . 2 2 That the myt hol ogi cal scenes were not recognized as al l egorical subjects as we l l is made clear by the fact that the bowl s that shoul d have been paired w i t h the dishes i n the D u Sartel sale were instead paired together i n l ot 151: "Paire de bols de meme porcelaine et de meme decor pr i mi t i f , bordures bleues et gravures dans la pt e avant la mise en couverte; ils on ete egalement sur- decores de sujets mythol ogiques en noi r rehausse d'or. Iis sonts garnis de montures pied en bois sculpte et dore les transformant en sortes de coupes." 2 3 One o f the D u Sartel bowl s is probabl y that whi c h was later i n the List col l ection and was described by Pazaurek as mount e d on an ol d woode n base and deco- rated on bot h sides w i t h myt hol ogi cal scenes showi ng Jupiter, Juno, and Amo r e t t i . 2 4 I n the same paragraph Pazaurek also mentions the dish i n the museum at Sevres as we l l as a bo wl f r o m the von Parpart col l ection, whi c h was acquired by the No r db hmi s c he Gewerbemuseum i n Reichenberg (present-day Liberec) and was also deco- rated on bo t h sides w i t h "dichten Landschaftsfriesen vo n weiter Perspektive nebst figurenreicher Staffage (antikes Opferfest u nd Bacchanalien) i n go l dge hht e r Schwarzl otmal erei." 2 5 The bo wl is il l ustrated and de- scribed i n the 1912 vo n Parpart sale catal ogue, 2 6 and the same description is repeated al most wo r d for wo r d i n the new acquisitions l i st i ng publ ished i n the Zeitschrift des Nordhhmischen Gewerbemuseums for 1912: 3. Runde Ku mme mi t untergl asbl auen Bo r d r e n, aufs reichste be r de ko r i e r t i n Schwarzl ot, mi t Go l d g e h ht . Landschaftsfries mi t weiter Perspektive, Ortschaf ten, zwischen B u me n versteckt, Fel dern, Te mpe l n u nd Burge n. A u f der Aussenseite als 20. The sale took place at the Hotel Drouot, Paris, June 4-9, 1894; see the catalogue: Catalogue des porcelaines et faiences europeennes et de Vextreme-orient . . . formant la collection de feu M. O. Du Sartel . . . , p. 30, l ot 150. The wi dt h o f the dishes is given as 21 cm. The onl y illustration o f the top o f the other dish is i n an article published i n 1905, see infra, note 22. I n the story of Diana and Endymion, Endymion endures eternal sleep i n return for perpetual youth and so is generally depicted asleep when visited by Diana, his lover. For this reason, it is l ikel y that the subject o f the decoration was misinterpreted at the time of the 1894 sale. The figure standing wi t h a spear and a dog does not represent Diana, but rather Adonis, and the sleeping figure is intended to Staffage ein antikes Opferfest, auf der Innenseite Bacchanal ien mi t viel en Figuren. Das Porzel l an Chi na XV I I . Jahrh. die Mal e re i vo n e i ne m deutschen Uberdekorateur. Meissen, Anf ang XV I I I . Jahrh. Ohne Marke . H h e 7.5 cm. , Du r c hm. 15 c m. Er - wo r be n auf der Au kt i o n Parpart i n Be r l i n. 2 7 The bo wl il l ustrated i n the von Parpart sale catalogue appears to be the one no w owned by the J. Paul Getty Mu se u m and was undoubtedl y one o f the pair o f bowl s sol d f rom the Du Sartel col l ection. By the t i me o f the von Parpart sale, i t had l ost its woode n stand and ex- hibited a crack. I t is possible, however, that a second bo wl exists, for another exampl e o f a dish l i ke that i n the Sevres museum was il l ustrated by Ho f mann i nl 9 32. 2 8 The decoration o f the Getty bo wl can be dated to circa 17151720. As noted above, the type o f porcel ain used by Preissler wo u l d not have been available i n Europe u nt i l after circa 1710 whe n i t was first produced i n China. The i ni t i al engraved series by de Poil l y has been dated to circa 1710, 29 and the second series, pre- sumabl y the source for the Getty bo wl and the Sevres dish, was already i n use i n Augsburg circa 17101712 whe n Elias Adam executed a beaker enamel ed w i t h the t r i u mph o f Bacchus after Mi g nar d. 3 0 M l l e r - Ho f st e de has pointed out the strong styl istic and thematic ties between the Sevres dish and a large covered gobl et i n the Umel eckopraumysl ove Mu ze u m i n Prague ( U P M 10017/1906). 31 The gobl et is compl etel y painted i n Schwarzlot and gol d w i t h foliate strapwork and t wo myt hol ogi cal scenes f r o m the ceil ing o f the Palazzo Far- nese, painted by Annibal e Carracci (d. 1609). The t r i - u mph o f Bacchus and Ariadne, a version different f r o m that by Mi gnar d, is depicted as a frieze r unni ng around the cup, and the procession o f nereids, tritons, and cupids accompanying Peleus and Thetis advances around the cover. The scenes were copied f rom one o f the sets o f engravings that il l ustrate the painted ceil ing, probabl y that by Pietro Aqui l a (16501692). Thi s seems to be the onl y set f rom the period i n whi c h the scenes o f Bacchus and Ariadne and Peleus and Thetis are not be Venus. 21. A. Brning, "Kupferstiche als Vorbilder fr Porzellan," Kunst und Kunsthandwerk 8 (1905), pp. 28-29. 22. See Maurice Fenaille, Etat general des tapisseries de la manufacture des Gobelins . . . (Paris, 1903), vol . 2, pp. 399-417, and H. C. Maril l ier, "The Venus and Adonis Tapestries after Al bani, " Burlington Magazine 54 (1929), pp. 314-320, pis. I I I I . 23. Du Sartel sale catalogue (supra, note 20), pp. 3031. The heights of the bowls are given as 13 cm, a measurement which ob- viously includes the wooden mounts; the diameter o f the bowls is given as 16 cm. 24. Pazaurek (supra, note 3), p. 214. Two Pieces of Porcelain 45 i n the reverse o f those on the gobl et or on the ceil ing itsel f . 3 2 The gobl et was certainl y intended to be a cabi- net or display piece, as were the Sevres dish and the Getty bo wl . I t has been publ ished as dating to circa 17251730, but some believe i t coul d be dated earlier. A comparison o f the scenes on the Getty bo wl wi t h 25. Pazaurek (supra, note 3), p. 214. 26. Kunstsammlungen Fjamilie] von Parpart, sale catalogue: Berl in, Lepke, March 18-22, 1912, l ot 488, p. 76, pi. 39 (view of inside). 27. Zeitschrift des Nordbhmischen Gewerbemuseums, neue Folge: VI I Jahrgang, Nr. 3 u. 4 (1912), no. 3, p. 95. 28. Friedrich H. Hofmann, Das Porzellan: Der europischen Man- ufakturen im XVIII. Jahrhundert (Berlin, 1932), p. 229, fig. 220. Inqui- ries have determined that the dish is no longer i n Berl in and may have been lost during the war. Slight variations i n the decoration indicate this is not the dish now i n the museum at Sevres. 29. Dagmar Srnensk, Franzsische Rokokographik (Hanau, n.d.), Figure 6. Left, Ignaz Preissler ( Bohemi an, 16761741). Vase decorated w i t h st i l l lifes o f fl owers i n vases, first quarter o f the eighteenth century. Chinese porcel ain (blanc-de-chine) w i t h over- glaze decoration i n Schwarzlot and gol d. H : 15.9 c m ( 6 V 4 " ) . Nure mbe rg, Germanisches Nat i onal muse um Ke 2261. Phot o: Courtesy Germanisches Nat i onal muse um, Nure mbe rg. Figure 7. Top, Ignaz Preissler ( Bohemi an, 16761741). Saucer decorated w i t h figures representing the mont hs, circa 17151720. Chinese porcel ain w i t h undergl aze-bl ue decoration and overglaze decoration i n Schwarzlot and gol d. Di am: 13.3 c m (5V4"). Lo ndo n, Br i t i sh Mu s e u m Franks Co l l . 124. those i n de Poilly' s engravings illustrates we l l Preissler s confidence and ski l l i n adapting a pri nt ed design o f rectangular f ormat to a surface o f an entirel y different conf iguration. The engraved scenes have been stretched and their components woven i nt o the landscape. Stands o f trees, saplings, and stumps, as we l l as views o f bu i l d- nos. 2629, pp. 6673. 30. Hel mut Seling, Die Kunst der augsburger Goldschmiede 1529-1868 (Munich, 1980), vol . 2, fig. 1053. 31. Ml l er-Hofstede (supra, note 8), p. 24. The goblet is illustrated i n The Corning Museum o f Glass and Umel eckoprmysl ove Muzeum, Prague, Czechoslovakian Glass 1350-1980, ex. cat. (Corning, N.Y., 1981), no. 28, p. 149, i l l . p. 63 (color). 32. For the engravings of the Palazzo Farnese ceiling by Pietro Aquila, see Ecole Franchise de Rome, Annibale Carracci e i suoi incisori, ex. cat. (Rome, 1986), no. XLI I D, pp. 169183. The scenes depicted on the goblet are nos. 10 and 17. 46 Gassidy-Geiger Figure 8. Ignaz Preissler ( Bohe mi an, 16761741). Saucer decorated w i t h al l egory o f November, circa 1720. Schwarzlot decoration. Present l ocat i on u nkno wn. Phot o: Court esy Verl ag Ant o n Hi ersemann, Stuttgart. ings and distant vil l ages, have been composed to bridge the ends o f the pri nt source, creating a continuous i m - age. M l l e r - Ho f st e de particul arl y noted Preissler's use o f e nt wi ne d trees at the ends o f a scene taken f rom an engraving. The inserted landscapes recall the prints o f Paul Br i l (1554-1626), Johann Teyler (1648-after 1697), and Gabriel Perelle (circa 16031667), whi c h were wi de l y col l ected f r o m the late seventeenth century and are recognized sources for some o f Preissler's c o m- positions. Occasionally, the buil dings i n these i mag- ined landscapes, l i ke the towered compl ex on the i n- side o f the Getty bo wl , seem specific enough to have been taken f rom a real setting, perhaps the estate o f the patron. The scenes on the bo wl and on the Sevres dish incor- porate many elements and motif s that are considered signatures o f Preissler's wo r k, such as the bi l l o wi ng cl ouds and cresting waves, the sail ing ships at sea, and the distant hil l s, whi c h seem at times to lean to the right. Preissler's masterful use o f the Schwarzlot tech- nique is evident i n every aspect o f the decoration, where i t was used to give vol ume to the painted forms and define edges and smal l details. Preissler was very careful Figure 9. Ma r t i n Engel brecht ( German, 16841756), after Paul Decker. November. Engravi ng. H : 27 c m ( 1 0W) ; W: 18.9 c m ( 77i 6 ") . Nure mbe rg, Germanisches Nat i onal muse um H B 23789 b . Phot o: Courtesy Germanisches Nat i o nal - muse um, Nure mbe rg. i n his use o f gol d, appl ying i t i n hai r-t hi n lines to hi gh- l i ght edges and folds or i n patterns o f smal l dots spri n- kl ed across draperies. The bouquet i n the center o f the Getty bo wl (fig. I f ) , at once a reference and a tribute to Flora, is a rare exam- ple o f Preissler's flower painting. The onl y comparable exampl e by Preissler is that on a hlanc-de-chine l i on-mask j ar i n the Germanisches Nat i onal museum i n Nu - remberg (Ke 2261), whi c h consists o f t wo st i l l lifes o f flowers i n gl obul ar glass vases (fig. 6) . 3 3 However, on t wo saucers o f Chinese porcel ain w i t h undergl aze- bl ue borders that Preissler painted i n Schwarzlot and 33. I wish to particularly thank Dr. Klaus Pechstein for the oppor- tunity to examine this piece and others i n the collection. Two Pieces of Porcelain 47 Figures Wa-c. Top, Ignaz Preissler ( Bohe mi an, 16761741). Leaf-shaped dish decorated w i t h put t o and sea dragon ( interior) and st rapwork and fol iate scrolls w i t h amoret t i , fountains, birds and baskets o f f rui t ( exterior) , circa 17151725. Meissen porcel ain decorated w i t h i ron-re d and gol d. H : 4 c m ( W) ; W: 8.3 c m 1 / / ) ; D: 11.1 c m ( 4W) . Left, interior. Right, bo t t o m. Mal i bu , The J. Paul Ge t t y Mu s e u m 86.DE.541. 48 Cassidy-Geiger Figures 10d-e. Detai ls o f exteri or o f fi gure 10a. Two Pieces of Porcelain 49 Figure 11. Ignaz Preissler (Bohemian, 16761741). Bowl decorated wi t h sea gods and dolphins, circa 17151725. Japanese porcelain wi t h decoration i n polychrome enamels and i n Schwarzlot and gold. Diam: 17.3 cm ( 6 1 3 / i 6") . Formerly Dr. Joseph Kler collection; present location unknown. Photo: Courtesy Christie's, New York. Figure 12a. Barthel Beham (German, 1502-1540). Bat- tling sea god, 1525. Engraving. H: 4.7 cm ( 170; W: 27 cm (V/m"). London, British Museum 1870-10-8-2394. Figure 12b. Barthel Beham (German, 1502-1540). Bat- tling sea god, 1525. Engraving. H: 4.3 cm (PViO; W: 2.7 cm (lVie"). London, British Museum 1870-10-8-2395. 50 Cassidy-Geiger Figure 13. Ignaz Preissler ( Bohe mi an, 16761741). Plate decorated w i t h a put t o i n the guise o f a river god, circa 1725. Schwarzlot and go l d decora- t i on. Formerl y Be rl i n, vo n Dal l wi t z col l ection; present l ocation u nkno wn. Photo: Co u r - tesy Verl ag Ant o n Hi ersemann, Stuttgart. gol d w i t h figures representing the months after Hans- Sebald Beham (15001550), the inner circular border en- closes a wreat h o f f rui t or flowers (fig. 7 ) . 3 4 These saucers are presentl y i n the Ume l e c ko pr mys l o v e Mu ze u m i n Prague (18.959) and i n the Bri t i sh Mu se u m (Franks Co l l . 124). Preissler's oeuvre incl udes other al l egorical themes and cycles as we l l , such as the elements, the continents, and the months. A saucer obviousl y f rom a service i l - l ustrating the latter is decorated w i t h a hu nt i ng al l egory representing November (fig. 8 ) . 3 5 The image derives f r o m a Paul Decker design engraved by Mar t i n Engel - brecht and publ ished i n Augsburg by Jeremias Wo l f f (fig. 9). Compari son o f the scene on the saucer to the image i n the engraving illustrates again ho w Preissler adds his o wn elements to the scene to make i t better accommodate the circul ar surface. I n this case, a zodiac sign has been empl oyed to identif y the subject; a tree is used to anchor the figure i n the f oreground; and back- ground details enhance the recession o f space. Many o f 34. Dr. Dagmar Hejdov and Dr. Olga Drahotov deserve special mention here for their generous assistance, support, and hospitality during the many days that I was permitted to study the collection i n Figure 14. Mu ni c i pal di pl oma issued to Mi c hae l Stein- metz o n February 26, 1678. Augsburg, 1678. Sepia i nk o n parchment, heightened w i t h gray wash and gol d leaf. H ( f ul l y opened): 64.5 c m ( 25 3 / 8 ") ; W: 68 c m ( 26 3 / 4 " ) . Col ogne, Bu nde s zahn r zt e kamme r . Phot o: Courtesy Bu nde s zahn r zt e kamme r , Col ogne. these al l egorical works date f r o m the Bresl au period, but the " di f f i cul t poetic subjects" described i n the Kronstadt invoices indicate that al l egorical subjects were st i l l requested by the artist's patrons later i n his l ife. The Getty's leaf-shaped dish o f Meissen porcel ain adapted f rom a blanc-de-chine mode l and painted i n i r o n- red w i t h gol d highl ights represents another popul ar theme f r o m Preissler's Bresl au period (figs. 10ae). The dish is decorated on the inside wi t h a wi nge d put t o hol di ng a marsh reed and seated backwards on a do l - phi nl i ke sea dragon w i t h a spiral ing tail . The inside r i m shows Preissler's characteristic f o r m o f Laub- und Band- werk. On the outside, strapwork and foliate scrolls course around the sides sprouting leaves and tendril s. Amo r e t t i , fountains, baskets o f f ruit, and birds are perched among the scrol l work. The l eaf work i n rel ief on the underside is out l i ned i n i ron-red and gol d. Some o f the many si mi l arl y decorated leaf-shaped dishes i n various museums are painted l i ke this one i n i ron-red w i t h gol d, and others are painted i n a corn- Prague. I wish also to thank Aileen Dawson of the British Museum for al l owing me to see this piece and others i n storage. 35. Pazaurek (supra, note 3), p. 219, fig. 181. Two Pieces of Porcelain 51 Figure 15. Ignaz Preissler ( Bohemi an, 16761741). Plate decorated wi t h Fortune r i di ng a dol phi n, circa 1725. Decorated i n Schwarzlot and gol d. For mer l y Wroclaw, Muz e um Nar odowe we Wr ocl awi u; present l ocat i on unkno wn. Phot o: Court esy Verlag An t o n Hi er semann, Stuttgart. bi nat i on o f Schwarzlot and i ron-red wi t h gol d. 3 6 It is not clear i f the dishes were produced i ndi vi dually, as small decorative tokens o f friendship or esteem, or as sets, perhaps belongi ng to a larger table service. A l l have a for m o f Preissler's Laub- und Bandwerk around the inside r i m and scrollwork on the outside, whi ch contains a standard repertoire o f elements, i ncl udi ng r unni ng stags and covered urns i n addi t i on to those listed above. Thi s seemingly i ncongruous auxi li ary decoration derives ult i mat ely fr om French and German ornamental en- gravings and constitutes the pr i mar y decoration o f other Preissler pieces. The way i t has been fi tted to an object o f such i rregular for m typifies Preissler's crea- t i vi t y and ski l l as an ornamentalist, and i t . is this that makes such wor ks so i nteresti ng and engaging. The executi on o f the figure on the inside o f the dish (fig. 10b), however, lacks the same ki nd o f energy and assurance. Preissler probably received no for mal t r ai n- i ng as an artist, and as a result, his renderi ng o f the human figure and other three-dimensional forms often 36. Other examples known to the author are i n the Germanisches Nationalmuseum, Nuremberg (inv. nr. Ke 765), the Umelecko- prumyslove Muzeum, Prague (inv. nr. 5291), and the National Mu- Figure 16. Johann Fri edri ch Probst, after Hi er onymus Sperli ng ( German, 16951771). Fortune r i di ng a dol phi n f r o m Trojano regio Principi Paridi. . . . Engr avi ng. H: 34. 3 c m ( 1372"); W: 22.9 c m (9"). Ne w Yor k, The Met r opol i t an Mus eum o f Ar t , Har r i s Bri sbane Di c k Fund, 1951 (51.540.6). Phot o: Court esy The Me t r o - pol i t an Mus eum o f Ar t , Ne w Yor k. makes t hem appear st i ff and awkwar dly posed, whi l e the aggressive model i ng gives t hem a sort o f impressive wei ght and substance. Thi s may partly result fr om the use o f pr i nt sources or other models that feature the bol d chiaroscuro effects favored by Baroque artists. By the eighteenth century, parades o f sea creatures and put t i on dolphi ns had become a generic sort o f "classical" decoration, comparable to the Bacchanalian t ri umphs and celebrations that were si mi lar ly portrayed by Renaissance and Baroque artists, often wi t hout spe- cific connotations or deeper i ndi vi dual meani ng for either the artist or his patron. Thi s was certainly the case wi t h Preissler's frequent treatment o f these themes. I n addi t i on to the leaf-shaped dishes, he deco- rated other dish types, bowls, plates, and glassware wi t h such figures. The exact sources for some o f Preissler's sea gods and put t i suggest that those on the leaf-shaped dishes proba- bly derive fr om engraved and other models as wel l . A b o wl o f Japanese porcelain sold at Christie's, Ne w Yor k, seum of American History, Smithsonian Institution, Washington, D.C. (SyzColl. 355). 52 Cas sidy-Geiger i n 1985 (fig. 11) is painted on the outside w i t h sea gods wi e l di ng swords and seated astride sea creatures w i t h horny snouts and spiral ing tail s. 3 7 These figures were taken directl y f r o m a pair o f engravings by Barthel Beham (1502-1540) dated 1525 (figs. 12a-b) . Preissler inserted t he m i n a seascape o f his o wn i nvent i on i nf l u - enced by seventeenth-century engraved sources. The Christie' s bo wl was probabl y painted circa 17151725. As w i t h the Bri t i sh Mu se u m saucer (fig. 7), the i de nt i - f ication o f the pri nt source demonstrates the persistence o f certain engraved images and themes t hrough t wo centuries o f Baroque art. A plate f ormerl y i n the von Dal l wi t z col l ection is painted i n the center wi t h a put t o i n the guise o f a river god w i t h his trident resting against an overturned vase f r o m whi c h water flows (fig. 13). A vignette w i t h the same figure on the riverbank and one o f the birds i n the background occurs on a di pl oma issued i n Augsburg i n 1678 ( fig 14). The di pl oma is bordered at the bo t t o m by a series o f related images o f wi nge d pu t t i on sea ani- mals. Anot he r plate f ormerl y i n the Mu ze u m Narodowe we Wrocl awi u (fig. 15) shows the female figure o f For- tune w i t h a bi l l o wi ng sail seated on a dol phi n i n a storm-tossed sea; this image appears i n a frame bor- dered by figures representing the wi nds and the seas. The entire scene was taken f r o m an engraving after Hi eronymus Sperl ing (16951771), whi c h was publ ished i n Augsburg, circa 1724 (fig. 16). The vo n Dal l wi t z and Wrocl aw museum plates were probabl y painted circa 1725 or later, after Sperling's design was publ ished. Preissler's talents and his reputation as a Schwarzlot painter were we l l established early i n the eighteenth century whe n his works entered the col l ections o f many promi ne nt citizens and members o f the nobi l i t y i n east- ern and central Europe. I n technique as much as subject matter, they reflect the persistence o f seventeenth- century tastes and traditions t hrough the first quarter o f the eighteenth century. I n 1731, at the age o f f if ty-f ive, Preissler continued to defend the Schwarzlot t radi t i on i n his repl y to an apparent request f r o m his patron for decoration i n pol ychrome enamels. He stated i n a l etter that, l ike his father, he considered Schwarzlot pai nt i ng i n red and black to be the finest and most subtle f o r m o f decoration ( " Me i n Vatter, auch ich al l zeit schwarz u nd roht bemohl et, disses, undter aller Parcellan Mahl erey dass feinste undt Suptieleste i st " ) . 3 8 Yet by January o f 1732, Preissler had compl eted an order that incl uded several pieces w i t h pol ychrome decoration, 3 9 a sign that the t radi t i on established al most one hundred years ear- l ier i n Nure mbe rg was at its close. The Me t ropol i t an Mu se u m o f Ar t Ne w York 37. Important European Porcelain and Pottery, sale catalogue: Chris- tie's, New York, Apri l 27, 1985, l ot 96. This view is not shown i n the catalogue. 38. Ml l er-Hof stede (supra, note 8), p. 47; originally transcribed and published by Jink i n 1923 (supra, note 8), p. 31. 39. Ml l er-Hof stede (supra, note 8), p. 49; originally transcribed and published by Jifik i n 1923 (supra, note 8), p. 34. Theoktistos and Associates in Twelfth-Century Constantinople: An Illustrated New Testament of A. D. 1133 Robert S. Nelson Thi s bo o k was f inished by the grace o f Chri st i n the year 6641 [A . D . 1133], the el eventh i ndi c t i on, the t hi r - t i e t h o f Ap r i l , the t hi r d hour o f the day, the fifteenth year o f the emperor John Comnenus, the Porphyrogen- netos, and the most pious augusta Irene, by the hand o f the sinner Theoktistos. 1 Wi t h these words the humbl e scribe Theoktistos ended the Ne w Testament section o f a handsome Greek manuscript, f ormerl y i n the Di onysi ou monastery on Mo u nt Athos (cod. 8) and presentl y at the J. Paul Getty Mu se u m ( Ms. Lu dwi g I I 4) . 2 No w decorated wi t h twel ve pages o f canon tables (figs. 612), six ornamen- tal headpieces (figs. 25), and four evangelist portraits (figs. 2225), the manuscript once contained other i l - l umi nat i ons as we l l . A ful l -page miniature o f the twel ve apostles (fig. 21), f ormerl y f ol io 134v, served as a f ron- tispiece to the Acts o f the Apostl es and is no w i n the Paul Canel l opoul os col l ection i n Athens. 3 Two more pages o f canon tables were removed between folios 1 and 2 and were recentl y discovered by Hu go Buchthal i n the l ibrary o f the Zographou monastery on Mo u nt At hos. 4 Final l y, as discussed bel ow, an offset o f col or I began this paper as a Guest Scholar of the J. Paul Getty Museum and completed it whil e I was a Fellow at the National Humanities Center. For making my stay at the Museum so enjoyable and produc- tive, I wish to thank Thomas Kren and Ranee Katzenstein o f the Department of Manuscripts. Others who facilitated my research were Fran Terpak, who secured important photographs quickly, Frank Preus- ser and Michael Schilling, who provided technical advice concerning the Ludwig manuscript, and Andrew Dyck of UCLA, who discussed texts wi t h me. Abbreviations Anderson, "Examination": J. C. Anderson, " An Examination of Two Twelfth-Century Centers o f Byzantine Manuscript Production" (Ph.D. diss., Princeton University, 1975). H. Buchthal, "Disiecta Membra, " The Burlington Magazine 124 (1982), p. 214, figs. 15-17. H. Buchthal, " A Greek New Testa- ment Manuscript i n the Escorial L i - brary: Its Miniatures and Its Bi nd- ing, " Byzanz und der Westen: Studien zur Kunst des europischen Mittelal- ters, ed. I . Hutter (Vienna, 1984), pp. 85-98. H. Buchthal, " An Illuminated Byz- antine Gospel Book of about 1100 A . D . , " i n Art of the Mediterranean World A.D. WO to 1400 (Washington, D C , 1983), pp. 140-149, reprinted from the Special Bulletin of the National Gallery of Victoria ( Mel - bourne, 1961). I . Hutter, Corpus der byzantinischen Buchthal, "Disiecta Membra" Buchthal, "Escorial" Buchthal, "Mel bourne" JOB: Spatharakis, Corpus: Spatharakis, "Grammar" Von Euw and Plotzek: Miniaturenhandschriften (Stuttgart, 1977-1982), 3 vols. Jahrbuch der sterreichischen Byzantinistik I . Spatharakis, Corpus of Dated Il- luminated Greek Manuscripts (Leiden, 1981). I . Spatharakis, " An Illuminated Greek Grammar Manuscript i n Jerusalem: A Contribution to the Study of Comnenian Illuminated Ornament" JOB 35 (1985), pp. 231-244. A. von Euw and J. M. Plotzek, Die Handschriften der Sammlung Ludwig (Cologne, 1979), vol . 1. Hutter, Corpus: 1. Fol.268v: 5 ETeA eico9(T|) r\ Trapo(aa) iXo(s) x<*piTi x( P L ( J T 0 ) ^ kv 5 er(ei) TW ax|xa (LVLKTLWVOS) ia p/n(vl) carpi.A .i) Xwpa 7' T(-qs) T)|jLepas TW TrevTeKaieKaTO) T(ei) TTJS aaiA eia; K(vpo)\) uo(avvou) Kai TTOp(|)\)po7evvf|T(ov) TOV KO(xvr|Voi3 Kai eipT)vins TT|<; eixreeaTcmis mryoixrrfiqs) 01a x^ips T v aixapTwA oO eoKTioTOU 2. Description and bibliography fol l ow i n the appendix. 3. Council o f Europe, Byzantine Art: An European Art, 2nd ed. (Athens, 1964), pp. 317318. The leaf is now mounted on wood. The manuscript's opening, folios 134v135r, showing the miniature before the beginning of Acts, is illustrated i n F. Dl ger, E. Weigand, and A. Deindl , Mnchsland Athos (Munich, 1942), fig. 116. The folio is also visible i n the Library o f Congress' microfil m of the manuscript made i n 1953. See E. W. Saunders, A Descriptive Checklist of Selected Manu- scripts in the Monasteries of Mount Athos (Washington, D C , 1957), pp. xi , 3. Thus the leaf was removed sometime after 1953. 4. Buchthal, "Disiecta Membra, " p. 214, figs. 1516. 54 Nelson Figure 1. Co l o pho n and l ater ex l i bri s o f the Di o nysi o u monastery. Ne w Testament, f ol . 268v. Co n- stantinopl e, 1133. Pen and i nk o n ve l l u m. H : 220 m m (8 5 /s"); W: 180 m m (7"). Mal i bu , The J. Paul Ge t t y Mu s e u m Ms. L u dw i g I I 4; 83. MB. 68. o n f ol io l r is the onl y trace o f yet another decorated page, whi c h must have served as the frontispiece to the vol ume. Del uxe i l l umi nat e d Byzantine manuscripts w i t h such precise indications o f date and, as we shall see, prove- nance are not c ommon, and doubtl essl y for this reason the earliest students o f the subject were attracted to the manuscript. I n 1891 He i nri c h Brockhaus first me n- tioned and il l ustrated the portrait o f Mat t he w i n a gen- eral book o n art at Mo u nt At hos. 5 Thereafter, the book was briefly noted i n art historical studies by C. R. Morey (1914) 6 and by A. M . Friend, Jr. (1927), 7 who re- produced al l four o f the manuscripts evangelist por- traits. I t figured i n various paleographical studies and catalogues and was presented i n another general wo r k on Mo u nt Athos, publ ished i n 1942 by F. D l g e r et al . 8 None o f these authors, however, studied the manuscript i n detail , and i n more recent years few have had the opport uni t y to examine the book personally. Since I 960, 9 the manuscript has passed t hrough t wo rel ativel y inaccessible private col l ections before the M u - seum acquired i t i n 1983 as part o f the Lu dwi g col l ec- t i o n and thereby made i t available to a wi de r audience. Sequestered for over t wo decades, the Getty Ne w Testa- ment has not been f ul l y incorporated i nt o recent schol - arship on twel f th-century Byzantine i l l umi nat i on. Thus, whi l e its publ ished miniatures have l ong been used as chronol ogical guides to the dating o f other manuscripts, the manuscript i t sel f has not received the close scrutiny that its hi gh qual ity i l l u mi nat i o n and its wel l -def ined provenance warrant. The present attempt at such an i nqui ry w i l l first expl ore the circumstances o f the manuscripts creation and then consider its decora- t i o n i n the larger context o f t wel f t h-cent ury Byzantine book i l l umi nat i on. The col ophon, wri t t en i n the customary passive voice, documents the moment o f the manuscript's compl etion i n exhaustive fashion: the years elapsed since the creation o f the worl d (i.e., 5,508 years before the bi rt h o f Christ); the indiction number, or year during a repeating fifteen-year cycle; the day o f the month, but not i n this case the day o f the week; the hour o f the daythe third, corresponding to mi dmorni ng; and the regnal year o f the Byzantine em- peror John I I Comnenus (r. A . D . 11181143), Porphyrogen- netos, or " born to the purple," and his consort, Irene. 1 0 At the end comes the name o f the scribe, who as usual pro- fesses his humil ity, fortunately not to the extent o f omi t - t i ng his name. Theoktistos tells us nothing else about himself, but his name, not a common one for scribes, appears i n several other manuscripts, whi ch C. R. Morey i n 1914 11 and J. Bick i n 1920 1 2 attributed to the same hand. Recently, however, H. Hunger and O. Kresten have split apart this group, assigning three manuscripts i n Vienna to a second Theoktistos, who worked i n the fourteenth cen- 5. H. Brockhaus, Die Kunst in den Athos-Klstern (Leipzig, 1891), pp. 183, 211, 231-233, pi. 21. 6. C. R. Morey, East Christian Paintings in the Freer Collection (Washington, D.C., 1914), pp. 28, 30. 7. A. M. Friend, Jr., "The Portraits o f the Evangelists i n Greek and Latin Manuscripts," Art Studies 5 (1927), pp. 125, 133, figs. 9-12. 8. Dl ger et al. (supra, note 3), pp. 194197. 9. Date noted by Buchthal, "Disiecta Membra, " p. 214. 10. The basic source for these chronological details is V. Grumel, Traite d f etudes byzantines: I. La Chronologie (Paris, 1958). 11. Morey (supra, note 6), pp. 2729. 12. J. Bick, Die Schreiber der wiener griechischen Handschriften (Vienna, 1920), pp. 65-66. 13. H. Hunger and O. Kresten, "Archaisierende Minuskel und Hodegonstil i m 14. Jahrhundert: Der Schreiber Theoktistos und die KpdXatva TWV TpiaXwv, " JOB 29 (1980), pp. 187-236. 14. Illustrated i n Morey (supra, note 6), pl . I I . This scribe uses an entirely different zeta from the characteristic type of the copyist of Ms. Ludwig I I 4. 15. On the manuscript see Hunger and Kresten (supra, note 13), pp. 210-212 wi t h further bibliography. 16. Texts i n ibid., p. 211. Theoktistos and Associates 55 tury. 1 3 The script o f a fourth manuscript, represented onl y by t wo folios i n the Freer Gallery o f Ar t i n Washington, D.C., shoul d also be divorced f rom the group, for i t is by neither Theoktistos I nor I I . 1 4 Thus at present the onl y other manuscript by the scribe o f the Getty Ne w Testa- ment is a copy o f saints' lives for the mont h o f November i n Paris (Bibliotheque National e gr. 1570). 15 Accordi ng to notes on f ol io 213r, Paris gr. 1570 was compl eted on June 9, 1127, and was wr i t t e n by The ok- tistos for the Abbot Maxi mos. A further entry on f ol io 214v records the book' s ownership by the monastery o f Saint John the Baptist i n Petra, l ocated i n the no r t h- western corner o f the city o f Constantinopl e, not far f rom the i mperi al Blachernae palace. 1 6 The scripts o f al l three notices i n the Paris vol ume agree wi t h each other and wi t h the mai n text o f the manuscript and closely resemble the Getty Ne w Testament. 1 7 Because the t wo books, wr i t t e n i n 1127 and 1133, are near contempo- raries, there can be no doubt that the same Theoktistos wrot e bot h. Whether the scribe was actually a mo nk at this establishment, also kno wn as the Prodromos-Petra monastery, is unclear; i n neither the Paris nor the Getty manuscript does he call hi mse l f a monk. I n this respect Theoktistos' manuscript for the Prodromos-Petra mo n- astery contrasts wi t h one copied by his contemporary Arsenios. The latter inscribed the monastery's ex l ibris i n Paris, Bibl iotheque National e gr. 891, stating i n the col ophon that the book was compl eted i n 1136 by "the mo nk Arsenios" for "the abbot o f the same monastery, the mo nk Maxi mos. " 1 8 Thi s Arsenios then was def i- nitel y a member o f the Prodromos-Petra communi t y, whose abbot, Maxi mos, commissioned manuscripts f rom the t wo scribes. Even i f Theoktistos di d not be- l ong to the monastery, the Paris manuscript o f 1127 at the very least locates hi m i n Constantinopl e six years before he wrot e the Getty Ne w Testament and associ- ates hi m w i t h a major monastery i n the capital. Li t t l e kno wn before the t we l f t h century, the monas- tery o f Saint John the Baptist i n Petra became pr o mi - nent at the end o f the el eventh and the begi nni ng o f the t we l f t h centuries, i n part as a result o f i mperi al sup- port . 1 9 I n 1200 a Russian visitor to Constantinopl e re- 17. Cf., ibid., figs. 3-6, 8. 18. The manuscripts o f Arsenios are surveyed i n E. D. Kakoul idi, " C H iXioTJKTi TTJS ixovrjs IIpo8p| Xoverpas OTTJV KoovoTav- TLVOUTTOXT]," Hellenika 21 (1968), pp. 2124. The Paris manuscript (Bibliotheque Nationale gr. 891) has a decorated headpiece. See Spatharakis, Corpus, p. 42, fig. 262. 19. The basic sources on the monastery are collected i n R. Janin, La geographie ecclesiastique de Vempire byzantin, 2nd ed. (Paris, 1969), part 1, vol . 3, pp. 421429; and G. P. Majeska, Russian Travelers to Constantinople in the Fourteenth and Fifteenth Centuries (Washington, D.C., 1984), pp. 339-345. ported that the monastery had t wo hundred monks. 2 0 Its prosperity is attested by an event that t ook place duri ng the reign o f John Comnenus' son Manuel . Wi shi ng to have an i mperi al banquet on very short notice, the emperor succeeded i n obtaining the neces- sary provisions f rom the monastery, i ncl udi ng whi t e bread, vegetables, olives, cheese, several kinds o f fish, and black and red caviar. 21 Fol l owi ng the Lat i n occupa- t i o n o f Constantinopl e duri ng the thirteenth century, the monastery was again prominent, and i n the early fifteenth century a Spanish visitor to the city extol l ed the monastery's rich mosaics, marbles, pavements, metal and glass l amps, and gil ded doors. 2 2 I t also possessed a considerable l ibrary, whi c h can be reconstructed t hrough a characteristic ex l ibris, the same one that The - oktistos and Arsenios copied i n their manuscripts. Amo ng its hol dings were t wo art historical l y i mport ant vol umes, the famous sixth-century Dioscurides manu- script i n Vienna and a fine el eventh-century Gospel book i n Athens ( National Li brary cod. 57) . 2 3 Di d Theoktistos wri t e the Getty Ne w Testament for the Prodromos-Petra monastery, as von Eu w and Pl otzek have assumed? 24 The book' s rel ativel y large size (220 X 180 mm) , its l iturgical rubrics, and the presence o f the Ne w Testament, not j ust the four Gospels, mi ght suggest an institutional patron. Certainl y i t is larger than a class o f di mi nut i ve Gospel books, measuring 120 X 90 m m or less, that were made i n the later eleventh and t we l f t h centuries for the personal use o f priests and monks. 2 5 Yet i n Byzant i um, unl i ke the Lat i n West, sharp distinctions cannot be made between private and publ ic rel igious texts, and not hi ng prevents the Getty Ne w Testament f rom being the commission o f an i ndi - vidual , either lay or rel igious. The onl y evidence i n this regard is o f a negative nature. Unl i ke Paris gr. 1570, Theoktistos di d not add to the Getty Ne w Testament the traditional ex l ibris o f the Prodromos-Petra monas- tery, verses that were considered i mport ant enough to be inscribed i n over t we nt y survi vi ng manuscripts. Such an omission might indicate a patron other than the monastery. Thus, whi l e the Getty Ne w Testament re- veals much more about the circumstances o f its creation 20. Majeska (supra, note 19), p. 341. 21. Janin (supra, note 19), p. 422. 22. Ibid., pp. 425426; S. Cirac, "Tres monasterios de Con- stantinopla visitados por espanoles en el afio 1403," Revue des etudes byzantines 19 (1961), pp. 366373; G. Le Strange, Clavijo Embassy to Tamerlane (New York, 1928), pp. 62-63. 23. Manuscripts associated wi t h the monastery are surveyed i n Kakoul idi (supra, note 18), pp. 339. 24. Von Euw and Plotzek, p. 162. 25. A. Weyl Carr, "Diminutive Byzantine Manuscripts," Codices Manuscripti 6 (1980), pp. 133-136. 56 Nelson Figure 2. Fi rst page o f the Gospel o f Mat t hew. Ne w Testament, fol . Ur. Const ant i nople, 1133. Tempera and gol d on vel l um. H: 220 mm ( 8 W) ; W: 180 mm (7"). Mal i b u, The J. Paul Get t y Mus eum Ms. Lud wi g I I 4; 83.MB.68. Figure 3. Fi rst page o f the Gospel o f Mar k. Ne w Testa- ment , fol. 46v. Const ant i nople, 1133. Tempera and gol d on vel l um. H: 220 mm (87s"); W: 180 mm (7"). Mal i b u, The J. Paul Get t y Mu - seum Ms. Lud wi g I I 4; 83.MB.68. than the great maj ori t y o f i l l umi nat ed Byzanti ne manu- scripts wi t ho ut colophons, the t rai l o f easily available evidence ends all t oo soon. At that poi nt one must re- sort to codicological, paleographical, and art historical analysis o f the manuscri pt i n the context o f Co n- stanti nopoli tan book pr oduct i on o f the second quarter o f the t wel ft h century, a fertile peri od i n the hi st ory o f Byzanti ne i l l umi nat i on. The codi cology and paleography o f the Get t y Ne w Testament provi de the first set o f clues to its process o f creation. Two scribes wor ked on the manuscript. The- oktistos, the pri nci pal scribe, wr ot e the entire Ne w Tes- tament (fols. Ur268v; figs. 15). A second scribe di d the pr el i mi nar y letter o f Eusebius (fol. lrv; fig. 13) and the concludi ng li t urgi cal tables (fols. 269r280r) and added the numbers to the canon tables (fols. 2r7v; figs. 612). The colophon appears not i n the usual posi t i on at the end o f the manuscri pt on foli o 280r, but many pages earlier on foli o 268v (fig. 1), because Theokti stos com- pleted his wo r k at that poi nt . 2 6 The t wo wr i t i n g styles, whi l e related, are nonetheless rather different i n overall effect and specific letters. Theokti stos achieves a rapi d r hyt hm fr om narrow, t hi n letters, especially the nu, and frequent slashing abbreviation marks (figs. 15). Hi s collaborator (fig. 13) wri tes a more conventi onal hand wi t h fluid transitions and curvi li near letters, for exam- ple, the lambda, whi ch contrasts wi t h the more angular ductus o f Theokti stos. To the latter's text, the second scribe added margi nal li t urgi cal rubrics. The manuscri pt is thus a j o i nt effort o f t wo contemporary scribes. The decoration is consistent t hr oughout the manu- script, the same colors and designs bei ng used i n the full-page evangelist portraits (figs. 2225), the orna- mental headpieces at the begi nni ng o f each Gospel (figs. 25), and the canon tables (figs. 612), as noted below. However, this does not suggest that one or bot h scribes were responsible for the i l l umi nat i ng o f the manuscript. Rather the t wo operations were separate and not es- 26. The contrasting scripts of folios 268v and 269r are well illus- trated i n K. Lake and S. Lake, Dated Greek Manuscripts to the Year 1200 (Boston, 1935), fasc. 3, no. 116, pi. 198. Theoktistos and Associates 57 Figure 4. First page o f the Gospel o f Luke. Ne w Testa- ment, f ol . 70r. Constantinopl e, 1133. Tempera and gol d o n ve l l u m. H : 220 m m (87s"); W: 180 m m (7"). Mal i bu , The J. Paul Get t y M u - seum Ms. Lu dwi g I I 4; 83. MB. 68. Figure 5. First page o f the Gospel o f John. Ne w Testa- ment, f ol . 107v. Constantinopl e, 1133. Te m- pera and gol d o n ve l l u m. H : 220 m m (8 5 /s"); W: 180 m m (7"). Mal i bu , The J. Paul Get t y Mu s e u m Ms. L u dwi g I I 4; 83. MB. 68. pecial l y we l l coordinated, and the five f igural mi ni a- tures are painted o n single fol ios tipped i nt o regular text quires (see appendix). Thus Mat t he w (fol . l Ov; f ig. 22) is attached to the preceding t wo fol ios (fols. 89), containing the l ist o f chapters i n Mat t hew. Before i t was removed f rom the manuscript, the page wi t h the twel ve apostles con- stituted f ol io 134v (fig. 21) and must have been j oi ne d either to the preceding or the f ol l owi ng quaternion. Mar k (fol . 45v; f ig. 23) is put between bifol ios 3 and 4 i n an otherwise regul ar quaternion (fols. 4351), con- t ai ni ng the end o f the Gospel o f Matthew, the l ist o f chapters i n Mar k, and the begi nni ng o f the Gospel o f Mar k. Si mi l arl y Luke (fol . 69v; f ig. 24) falls between bifol ios 1 and 2 o f a f ormal l y regul ar quaternion (fols. 6876), compri si ng the l ist o f chapters i n Luke and the begi nni ng o f the Gospel o f Luke. Final l y John (fol . 106v; fig. 25) is f ound between bifol ios 3 and 4 o f an otherwise regular quaternion (fols. 101109) w i t h the 27. This opening i n the manuscript, folios 106v107r, is il l us- trated by Dl ger et al. (supra, note 3), fig. 115. end o f the Gospel o f Luke, the chapters i n John, and the begi nni ng o f the Gospel o f John. I n t wo cases the inserted miniatures actually interrupt texts. Mar k (fol . 45v) comes i n the mi ddl e o f the l ist o f chapters, whi c h begins on f ol io 44v and continues on f ol io 46r. Worse st i l l , John (fol . 106v), designed to be a frontispiece to his Gospel , appears before the end o f Luke, so that Theoktistos' concl usion to Luke and his l ist o f chapters i n John f ol l ow on f ol io 107r. 27 The o r i g- inal l y bl ank rectos o f al l five miniatures (fols. lOr, 45r, 69r, 106r, 134r) make these interruptions even more dis- concerting. A later owner was sufficientl y bothered by the portrait o f John to wri t e the concl usion o f Luke's Gospel on the back (fol . 106r) o f the miniature, thereby maki ng redundant Theoktistos' original text on the f o l - l o wi ng fol io. The manner i n whi c h the parchment o f the ful l -page miniatures is rul ed further distinguishes t hem f rom the basic text o f the manuscript (see the appendix). Doubl e vertical lines define the lateral borders o f the frame, and single horizontal lines mark the upper and l ower l i mi t s o f the miniature. The pattern thus aids the i l l umi nat or. 58 Nelson Ot her special rul ings are f ound elsewhere i n the manu- script. A distinctive pattern sets up some o f the l i t u r g i - cal tables at the end o f the book (fols. 275r280r). I n the i ni t i al quire w i t h the canon tables (fols. 17), three sets o f doubl e vertical lines define the wi dt hs o f the three painted col umns o f the tables (figs. 612). Onl y f ol io 1 w i t h Eusebius' l etter about the canon tables has ho r i - zontal l ines for the text (fig. 13). Taken together, these and other details pe rmi t a par- tial reconstruction o f ho w the Getty Ne w Testament was made. Theoktistos wrot e the mai n text, sometimes i nde nt i ng one or more lines at the begi nni ng o f major textual divisions for gil ded initial s (see figs. 25). These initial s are al l by the same hand and resemble the mi no r decoration and the gol d titl es, bot h surely by the scribe. Theoktistos must have added the initial s after he finished wr i t i ng his text; whe n a scribe makes the i ni - tials before he writes the text, the indented lines o f text often f ol l ow the particul ar prof il e o f the i ndi vi dual l et- ter, an effect that can be especially noticeable w i t h the beta for Mat t hew' s Gospel . The second scribe may have wr i t t e n his sections o f the manuscript after Theoktistos; certainl y he added the l iturgical marginal ia after the l at- ter had finished. Next , the scribes turned their text over to an i l - l uminator, who painted the headpieces at the start o f the four Gospels (figs. 25), the Acts o f the Apostl es, and Paul's Epistl e to the Romans. That the ornament came after the initial s is shown by the first pages o f Mar k, Luke, and John. For Mar k (fig. 3), the l ower left finial to the ornamented rectangle is abbreviated so as to avoid the tal l gol d i ni t i al alpha. For the same reason the corresponding finial o f John's headpiece (fig. 5) is pushed to the side o f the large i ni t i al epsil on, whi l e the one i n Luke's headpiece (fig. 4) is shrunken to a smal l gol den teardrop, better to bl end w i t h the col or o f the i ni t i al bel ow. The i l l umi nat or o f the headpieces also painted the figural miniatures and the canon tables. The same array o f colors is used t hroughout the manuscript, and the same scalloped design i n the borders o f the frames o f 28. Matthew (fig. 22) 160 X 108 mm; Mark (fig. 23) 165 X 105 mm; Luke (fig. 24) 163 X 108 mm; John (fig. 25) 163 x 108 mm. Because the last two have the same measurements and all but Mark share the same width, the evangelists were clearly made i n the same campaign. 29. For example, the canon table on folio 5v (fig. 10) measures 160 X 140 mm. 30. P. McGurk, Latin Gospel Books from A.D. 400 to A.D. 800 (Paris, 1961), pp. 8-9. 31. I made some comments on the relative independence o f scribes and illuminators i n regard to tenth-century il l umination i n "Byzantine Miniatures at Oxford: CBM 1 and 2," forthcoming i n Byzantine Studies/Etudes byzantines. Others have reached similar con- the evangelists (figs. 2225) and the apostles (fig. 21) appears i n the headpiece for Mar k (fig. 3) and i n certain canon tables (figs. 7, 9, 11, 12). For the ful l -page mi ni a- tures, the painter worke d w i t h separate pages o f parch- ment, guided by the r u l i ng lines that he incised to insure u ni f o r m proportions for the frames. He di d not, however, rul e al l four evangelist portraits simul taneousl y, because the miniatures' measurements vary sl i ght l y. 2 8 The product i on stages o f the canon tables are more dif f icul t to reconstruct, but the i l l umi nat or probabl y t ook the lead here. Three sets o f doubl e vertical lines define the wi dt hs o f the three painted col umns on each page, so that i t must have been the i l l umi nat or who started w i t h the bl ank parchment. Agai n his apparent objective was u ni f o r mi t y i n the manuscript, because the height o f the canon tables approximatel y equals that o f the evangelist portraits. 2 9 He rul ed four bifolios o f parch- ment, or sixteen pages, and painted tables on fourteen o f these pages. The same r ul i ng pattern appears on the first f ol io w i t h the l etter o f Eusebius, except that ho r i - zontal lines were added for the text (fig. 13). The second scribe used gol d i nk for the l etter on fol ios l rv and the numbers o f the canon tables. It appears therefore that whi l e there was some inter- change between scribes and i l l umi nat or, they preferred to wo r k separately. Thus, even t hough there was r o o m for the portrait o f Mat t he w on the ori gi nal l y bl ank f ol io 9v, f ol l owi ng the concl usion o f the chapter lists for Mat t he w o n f ol io 9r, the i l l umi nat or painted his mi ni a- ture on a separate l eaf o f parchment to be attached to the smal l quire w i t h the chapter lists. The manuscript that resulted does not conf orm to the usual l ayout o f del uxe books. Neither the evangelist portraits nor the first pages o f each Gospel f ol l ow the predictable no r m. As a rule, the evangelist portrait occupies a verso, so as to face the begi nni ng o f a Gospel on a recto. For this reason the evangelist normal l y is shown t urni ng i nward toward the bi ndi ng. Moreover, each Gospel traditional l y began a new quire, a centuries-ol d convention that went back to the earliest Christian manuscripts. 3 0 elusions for later manuscripts. For the period o f the present essay, see Buchthal, "Escorial," p. 93, and J. C. Anderson, "The Seraglio Oc- tateuch and the Kokkinobaphos Master," Dumbarton Oaks Papers 36 (1982), pp. 103-104. For the Palaeologan period, see H. Buchthal, "Toward a History of Palaeologan Illuminations, " Art of the Mediterra- nean World A.D. W0 to 1400 (Washington, D. C, 1983), pp. 162-163; A. Weyl Carr, "Two Manuscripts by Joasaph i n the United States," The Art Bulletin 63 (1981), pp. 188-190; and H. Bel ting, Das illuminierte Buch in der sptbyzantinischen Gesellschaft (Heidelberg, 1970), pp. 317. 32. Buchthal, "Disiecta Membra"; von Euw and Plotzek, p. 159. 33. The contents o f these pages are as follows (Zog refers to the Zographou leaf): Page 1 (Zog) I , I 8 (4v) V, V Theoktistos and Associates 59 The observed lack o f coordination between scribes and painter does not mean that they were not cont em- poraries or that the miniatures were inserted i nt o the manuscript at a later date. As discussed bel ow, the deco- ration is too f i r ml y embedded i n the context o f Co n- stantinopol itan i l l u mi nat i o n o f the second quarter o f the t we l f t h century to be attributed to a later period. What the codicol ogical analysis o f the manuscript sug- gests instead is a physical, not a temporal , distance be- tween the wr i t i ng and the decorating o f the manuscript. The i l l umi nat or probabl y di d not share the same wo r k- table or scri pt ori um w i t h the scribes and may even have had a separate shop to whi c h the master Theoktistos brought his book for decoration. A simil ar modus ope- randi best describes the product i on o f certain t we l f t h- century manuscripts, to be discussed shortl y, and may be deduced, as we l l , for other periods o f Byzantine i l l u mi nat i o n. 3 1 Havi ng thus examined ho w the Getty Ne w Testa- ment was made, i t is appropriate to evaluate the i l - l umi nat i on that resulted by l o o ki ng first at the begi n- ni ng o f the manuscript. Beginnings o f books are always i mport ant , but perhaps more so than usual i n the case o f Ms. Lu dwi g I I 4. One o f its more distinctive aspects is its pre l i mi nary canon tables (figs. 612), whi c h have heretofore been ignored. Thanks to Hu g o Buchthal ' s discovery, their f ul l extent can no w be studied. The single l eaf that he identif ied must be the f ol io that the authors o f the Lu dwi g catalogue recorded as missing between fol ios 1 and 2 o f the manuscript. 3 2 The leaf's measurements agree wi t h those o f the Getty vol ume, and its contents compl ete the missing section at the begi nni ng o f the tables. The series o f decorated pages may therefore be reconstructed as begi nni ng on the recto o f the Zographou l eaf and extending t hrough the verso o f f ol io 7, maki ng fourteen pages i n al l . 3 3 The canon tables consist o f three handsome mar- bl eized col umns that frame t wo sections for the lists o f numbers and support an ornamental superstructure. The 2 (Zog) I , I I 3 (2r) I I , I I 4 (2v) I I , I I 5 (3r) I I , I I I 6 (3v) I I I , I V 7 (4r) I V, V 9 (5r) V, V I 10 (5v) VI , VI I 11 (6r) VI I I , I X 12 (6v) X( Mt ) , X( Mk ) 13 (7r) X (Lk), X (Lk) 14 (7v) X (Jn), X (Jn) 34. Because o f the vagueness of earlier accounts, it is unclear when the Zographou leaf was removed from the manuscript. Unl ike the missing apostles page, the leaf does not appear in the Library of Congress microf il m made i n 1953 (see supra, note 3). 35. Von Euw and Plotzek, figs. 56-59. 36. In a forthcoming study on Armenian il l umination, Thomas Mathews also underscores the importance and the seriousness of columns, painted either blue or green, rest on round or tripartite bases. The rectangular sections above are variousl y f il l ed wi t h gables, arches, or ornamental pat- terns, so that each opening o f the manuscript has the same design. Thus the fact that f ol io 2r matches exactly the design o f the verso o f the Zographou l eaf is concl u- sive pr o o f that the latter bel onged to the manuscript. 3 4 These canon tables wo u l d seem to appeal less to mo d- ern sensibilities than the manuscript' s figural miniatures to j udge f rom the fact that the latter have been re- produced several times since 1891, whereas the canon tables were first il l ustrated onl y i n the Lu dwi g cata- l ogue o f 1979. 35 Yet these ornate arches must have been i mport ant to the manuscript' s medieval patron. They are carefully executed i n the same array o f colors as the evangelists and apostles, and i t may we l l have required more o f the artist's t i me to paint fourteen canon tables than five f igural miniatures. 3 6 Canon tables play a major role i n the decorative pro- grams o f other Mi ddl e Byzantine Gospel books. Some consist o f large il l usionistic architectural designs derived f rom early prototypes, whi l e others set intricate genre scenes atop the structures or introduce personifications as caryatids. To understand better the context o f the Getty canon tables, i t is necessary to locate t hem i n the history o f this aspect o f the post-Iconocl astic Gos- pel bo o k/ Ne w Testament, a formidabl e task since that history has yet to be wri t t e n. The premier authority on the subject, Carl Nordenf al k, di d consider the Greek versions but principal l y i n regard to their potential for reconstructing Eusebius' original design. The latter, he showed, was reflected i n the seven-page series o f some tenth-century Greek manuscripts, his "kl einere griechische Kanonfol ge." He also isolated the " gr sse r e griechische Kanonfol ge, " consisting o f ten pages and represented by the masterpiece i n the Stavronikita monas- tery on Mo u nt Athos (cod. 43). According to Norden- falk, this series was a new redaction by Constantinopol i- tan i l l umi nat ors o f the tenth century and consequently o f lesser interest for his purposes. 3 7 Neither he nor anyone else has taken up the subsequent history o f canon tables. He is able to interpret their significance for Armenian manuscripts by reference to medieval Armenian commentaries on the Eusebian canons. I know of no similar texts for Greek manuscripts. I thank hi m for letting me read a portion of his study coauthored wi t h Avedis K. Sanjian, Armenian Gospel Iconography; The Tradition of the U.C.L.A. Gospel. 37. C. Nordenfalk, Die sptantiken Kanontafeln (Gteborg, 1938), pp. 5764. He also identifies an early eight-page series, as a variant on the smaller seven-page format: ibid, pp. 149152, and idem, "The Apostolic Canon Tables," Gazette des beaux-arts ser. 6, 62 (1963), pp. 24-26. 60 Nelson Figure 6. Canon table. Ne w Testament, fol . 2r. Co n - stanti nople, 1133. Tempera and gol d on vel l um. H: 220 mm ( 8 W) ; W: 180 mm (7"). Mal i b u, The J. Paul Get t y Mus eum Ms. L ud - wi g I I 4; 83.MB.68. Figure 7. Canon table. Ne w Testament, fol . 2v. Co n - stanti nople, 1133. Tempera and gol d on vel l um. H: 220 mm (8 5 /s"); W: 180 mm (7"). Mal i b u, The J. Paul Get t y Mus eum Ms. L ud - wi g I I 4; 83. MB. 68. Byzanti ne canon tables, i n spite o f the fact that they constitute major components o f deluxe manuscripts and may wel l offer clues to the or i gi n and affi li at i on o f such books. The present study is not the place for such an inves- t i gat i on, but a few pr el i mi nar y observations may aid i n appreciating the series i n the Get t y manuscript. First, the latter's fourteen pages are exceptional. Whi l e No r - denfalk's seven-page series appears less frequently after the t ent h century than ei ght- or ten-page sequences, 38. C. Stornajolo, Codices Urbinates Graeci Bibliothecae Vaticanae (Rome, 1895), p. 4; Spatharakis, Corpus, p. 41, fig. 251. 39. Spatharakis, Corpus, pp. 1115: Rome, Vatican gr. 354; Paris, Bibliotheque Nationale gr. 70; Mount Athos, Lavra cod. A 19. I ex- clude Oxford, Bodleian Library Auct. D. 4. 1, said to have two canon tables (ibid., p. 12). These are canons for the Psalms: Hutter, Corpus, vol. 1, p. 27. 40. Nordenfalk (supra, note 37), p. 60. 41. Spatharakis, Corpus, pp. 19, 28, 33, 36. The other manuscripts are a Trebizond manuscript divided between Mount Sinai gr. 172 and Leningrad, Public Library gr. 291 dated 1067, and Paris, Bibliotheque Nationale gr. 81 dated 1092. The tables i n the Dumbarton Oaks manuscript are comparatively simple, being rendered only i n red ink. 42. Spatharakis, Corpus, pp. 41-42, 44-48: Mount Sinai gr. 193 very few series are as extended as that o f Ms. Ludwi g I I 4. The contemporary Gospel book i n the Vatican L i - brary ( Ur b. gr. 2), wi t h its portraits o f John I I Co m- nenus and his son Alexi us, spreads the letter o f Eu- sebius and the canon tables over sixteen pages (fols. 4r11 v) , but the tables proper occupy onl y the t radi - t i onal ten pages. 3 8 Li ke the earlier series studied by No r - denfalk, later canon tables may also be product i vely classified by number o f pages. Second, canon tables are more popular i n some per i - dated 1124; Rome, Vatican Urb. gr. 2 of circa 1125; Mount Athos, Esphigmenou cod. 25 dated 1129; Malibu, The J. Paul Getty Museum Ms. Ludwi g I I 4 dated 1133; Princeton, University Library Garrett 3 dated 1136; Rome, Vatican Barb. gr. 449 dated 1153; Athens, Byzan- tine Museum ms. 205 dated 1154; London, British Library Add. 5107 dated 1159; Paris, Bibliotheque Nationale suppl. gr. 612 dated 1164; Paris, Bibliotheque Nationale gr. 83 dated 1167; London, British L i - brary Add. 5111-5112, "shortly before 1189"; Rome, Vatican gr. 2290 dated 1197. 43. Spatharakis, Corpus, pp. 49, 54: Athens, Gennadeios Library ms. 1. 5 dated 1226; Athens, Byzantine Museum ms. 155 dated 1292. Spatharakis included Mount Sinai gr. 2123 as dated 1242, but its date has now been justly challenged by G. Prato andj. A. M. Sonderkamp, "Libro, testo, miniature: II caso del Cod. Sinait. Gr. 2123," Scrittura e Theoktistos and Associates 61 Figure 8. Canon table. Ne w Testament, f ol . 3v. Co n- stantinopl e, 1133. Tempera and gol d o n ve l l u m. H : 220 m m (8 5 /s"); W: 180 m m (7"). Mal i bu , The J. Paul Get t y Mu s e u m Ms. L u d- w i g I I 4; 83. MB. 68. ods than others, as shown by a perusal o f the dated i l l umi nat e d Greek manuscripts i n the recent vol ume o f I . Spatharakis. There the tenth century is represented by three manuscripts, 3 9 one o f whi c h (Paris, Bibl iotheque National e gr. 70) is a pri me exampl e o f Nordenfal k' s seven-page sequence. 40 O f the five el eventh-century manuscripts that Spatharakis catalogues, al l but one ( Mi l an, Bibl ioteca Ambrosiana Ms. B 56 sup., dated 1022) are f rom the second hal f o f the century. Two ( Washington, D. C. , Du mbar t o n Oaks cod. 3 and civilt 9 (1985), pp. 309323. Other dated manuscripts have canon tables but perhaps were not mentioned by Spatharakis because they are not of sufficient art historical interest, e.g., Rome, Vatican Ottob. gr. 381 dated 1281/82 and Wil l iamstown, Wil l iams College cod. De Ricci 1 dated 1294/95. Perhaps for the same reason Oxford, Christ Church gr. 20 dated 1291/92 is omitted entirely from the Corpus. Gttingen, Universittsbibl iothek cod. Theol. 28, an il l uminated manuscript dated 1289/90 wi t h canon tables, should be added to the Corpus. The Oxford and Gttingen manuscripts are discussed i n my paper, "Theodore Hagiopetrites and Thessaloniki," JOB 32/4 (1982), pp. 7985, and the Gttingen manuscript alone i n "The Manuscripts of Antonios Malakes and the Collecting and Appreciation of I l l u- minated Books i n the Early Palaeologan Period," JOB 36 (1986), pp. 235-238. Figure 9. Canon table. Ne w Testament, f ol . 4v. Co n- stantinopl e, 1133. Tempera and gol d o n ve l l u m. H : 220 m m (8 5 /s"); W: 180 m m (7"). Mal i bu , The J. Paul Get t y Mu s e u m Ms. L u d- w i g I I 4; 83. MB. 68. Mo u nt Athos, Lavra A 61) are o f hi gh or moderatel y hi gh qual ity, and each has ten pages o f canon tables. 41 The situation abruptl y changes, however, i n the t we l f t h century. No w twel ve dated manuscripts have canon ta- bles, incl uding, o f course, Ms. Lu dwi g I I 4. 4 2 I n con- trast, tables are f ound i n onl y three manuscripts f rom the thirteenth century, 4 3 t wo f rom the fourteenth cen- t ury, 4 4 and none f rom the fifteenth century. I n the Late Byzantine period canon tables decline i n importance and are not incl uded i n many del uxe manuscripts. 4 5 44. Spatharakis, Corpus, pp. 5657: Mount Athos, Pantocrator cod. 47 dated 1301; Venice, Biblioteca Nationale gr. I . 20 dated 1302. Again, at least one other manuscript, Venice, Biblioteca Marciana gr. I . 19, has canon tables. The latter, however, are not richly decorated. 45. For example, Pistoia, Biblioteca Fabroniana ms. 307 dated 1330; Rome, Biblioteca Vallicelliana ms. F 17 (83) dated 1330; Mount Athos, Lavra cod. A 46 dated 1333; Patmos, Monastery of Saint John ms. 81 dated 1335; Mount Sinai gr. 152 dated 1346; London, British Library Burney 18 dated 1366; Athens, National Library ms. 2603 dated 1418; and Mount Athos, Iviron cod. 548 dated 1433. See Spatharakis, Corpus, pp. 6070. 62 Nelson Iflflll^^ Figure 10. Cano n table. Ne w Testament, f ol . 5v. Co n- stantinopl e, 1133. Tempera and gol d o n ve l l u m. H : 220 m m ( 8 W) ; W: 180 m m (7"). Mal i bu , The J. Paul Ge t t y Mu s e u m Ms. L u d- w i g I I 4; 83. MB. 68. Further research wo u l d be required to ascertain the degree to whi c h the number o f canon tables is depen- dent upon the number o f il l ustrated Gospel books and Ne w Testaments being produced at various times. However, i n the absence o f such a dif f icul t inquiry, the evidence o f survi vi ng dated examples st i l l reveals that at least the tables, i f not the manuscripts i n whi c h they are f ound, enjoyed their greatest popul ari t y i n the later el eventh and t we l f t h centuries. No t coincidental l y, this was also the t i me o f their principal artistic success, a devel opment that parallels the increased prominence o f the decorated headpiece duri ng the same pe ri od. 4 6 Tenth-century tables mi ght be monument al and i l l u - sionistic ( Mo u nt Athos, Stavronikita cod. 43) or flat and 46. On the headpiece see my forthcoming study, "Palaeologan Il l uminated Ornament and the Arabesque," which wi l l appear i n the Wiener Jahrbuch fr Kunstgeschichte. 47. K. Weitzmann, Die byzantinische Buchmalerei des 9 und 10. Jahr- hunderts (Berl in, 1935), figs. 177-178, 148, 194-195. 48. J. Ebersolt, La miniature byzantine (Paris, 1926), pis. XLI I XLI I I . A color reproduction of the page wi t h the boy and camel is found in A. Grabar, The Art of the Byzantine Empire (New York, 1963), p. 39. 49. V. Lazarev, Storia della pittura bizantina (Turin, 1967), fig. 240. Figure 11. Canon table. Ne w Testament, f ol . 6v. Co n- stantinopl e, 1133. Tempera and gol d o n ve l l u m. H : 220 m m ( 8 5 / 8 ") ; W: 180 m m (7"). Mal i bu , The J. Paul Get t y Mu s e u m Ms. L u d- w i g I I 4; 83. MB. 68. decorative (Athens, Nat i onal Li brary cod. 56) and coul d incl ude a variety o f smal l birds at the top (Rome, Vat i - can gr. 364) , 4 7 but i n the el eventh century, especially the latter half, canon tables reached new levels o f embel l ish- ment. At o p the intricate arcades o f one masterpiece o f the period (Paris, Bibl iotheque National e gr. 64) cavort menageries o f exotic animals. A cheetah and a hunter race after stags; one gri f f on stands proudl y by whi l e another l icks its paws; pairs o f l ong-necked wat erf owl and peacocks dr i nk f r o m a f ountain; or a yout h goads a camel, as an elephant drinks w i t h his t r u nk f r o m a f ount ai n. 4 8 Mo r e fanciful st i l l are the myt hol ogi cal crea- tures pl aying cymbal s and harp above a majestic table i n the later el eventh-century Gospels i n Parma (Bibl ioteca 50. Hutter, Corpus, vol . 1, figs. 209-213; vol . 3.1, p. 333; Nelson, "Byzantine Miniatures at Oxf ord" (supra, note 31). 51. Buchthal, "Mel bourne, " pp. 141-143, figs. 295-300. The Ven- ice manuscript is discussed i n I . Furlan, Codici greci illustrati della Bibli- oteca Marciana (Mil an, 1979), vol . 2, pp. 1318, without knowledge o f the preceding, and most recently by Spatharakis, "Grammar," pp. 235237. On the Melbourne manuscript there is now M. M. Manion and V. R. Vines, Medieval and Renaissance Illuminated Manuscripts in Australian Collections (Melbourne, 1984), pp. 2326. Theoktistos and Associates 63 Figure 12. Canon table. Ne w Testament, fol. 7v. Co n - stantinople, 1133. Tempera and gol d on vel l um. H: 220 mm (8 5 /s"); W: 180 mm (7"). Mal i b u, The J. Paul Get t y Mus eum Ms. L ud - wi g I I 4; 83 . MB. 68. Palatina ms. palat. 5) , 4 9 a manuscri pt that is closely related to a smaller and si mpler Gospels at Oxfor d ( Bodlei an Li br ar y E. D. Clarke 10) . 5 0 I n the second quarter o f the t wel ft h century, Gospel books belongi ng to the Nat i onal Gallery o f Vi ct ori a i n Mel bour ne and the Bi bli oteca Nazionale Marci ana i n Venice (cod. gr. Z 540) insert personifications o f the labors o f the mont hs and the vi rtues between the capi- tals and spandrels. 5 1 Bo t h the caryatids and the genre scenes are combi ned at the end o f the t wel ft h century or the begi nni ng o f the t hi rt eent h century i n the Vani Gos- pels, a manuscri pt wr i t t en i n Georgian but decorated by a Byzanti ne i l l umi nat or i n Constanti nople. Here mot i fs li ke the boy and the camel, the elephant, or the person- 52. On the manuscript see E. Takaichvili, "Antiquites georgiennes: I . L'evangile de Vani," Byzantion 10 (1935), pp. 655663; Sh. Amiranashvili, Gruzinskaja Miniatjura (Moscow, 1966), pis. 3033; H. Buchthal, "Studies i n Byzantine Illumination of the Thirteenth Cen- tury," Jahrbuch der berliner Museen 25 (1983), pp. 36, 40, figs. 1416. 53. Buchthal (supra, note 52), pp. 37-44. 54. Hutter, Corpus, vol. 1, pp. 59-62, figs. 227-235. J. C. Ander- son is preparing a monograph on the Kokkinobaphos group. For his most recent paper on the subject see supra, note 31. Another man- ifications are reproduced so fai thfully that the i l l umi na- tor must have consulted one or more earlier manu- scripts. 5 2 Finally, at the end o f the t wel ft h century, spec- tacular profusions o f ornamental patterns envelop the canon tables o f the appropriately named Decorative style, perhaps best exempli fi ed by a manuscri pt i n the Di onysi ou monastery on Mo un t At hos (cod. 4) . 5 3 Compared to such elaborate creations, the tables i n the Getty Ne w Testament appear rather simple, lacki ng, as they do, the fr oli cki ng animals or the genre scenes o f other Comneni an manuscripts. Yet thei r ornament is varied and wel l painted, and the series is significantly longer than the tradi ti onal formats to whi ch all but a very few deluxe manuscripts conform. The ten-page sequence is favored by many o f the foregoi ng: Athens, Nat i onal Li br ar y cod. 56; Rome, Vatican gr. 364; Mo un t Athos, Stavroni ki ta cod. 43; Paris, Bi bli otheque Nationale gr. 64; Oxford, Bodleian Li brary E. D. Clarke 10; Rome, Vatican Ur b. gr. 2. The Parma Gospels has onl y ni ne pages o f tables, perhaps because i t is larger than most Gospel books. Anot her pr omi nent manu- script wi t h a nine-page series is the Codex Ebnerianus at Oxfor d, a contemporary o f the Get t y Ne w Testament and a member o f a large school o f Constanti nopoli tan i l l umi nat i on o f the peri od, usually termed the Ko k - kinobaphos group after pr omi nent manuscripts i n Paris and Rome. 5 4 The scribe o f the Codex Ebnerianus also wr ot e a Ne w Testament i n the Escorial wi t h eight pages o f tables. 5 5 A Paris Gospel book ( Bi bli otheque Na- tionale gr. 71), i l l umi nat ed i n the Kokki nobaphos style, contains handsome tables, whi ch, however, are only seven i n number . 5 6 Manuscri pts o f the later Decorative style, recently studied by A. Weyl Carr, have either seven or eight pages o f tables. 5 7 Amo n g the manuscripts surveyed, the Mel bour ne and Venice manuscripts wi t h fourteen and fifteen pages, respectively, offer the closest parallels to the Getty Ne w Testament. Hugo Buchthal, who first noted the relationship be- tween the Mel bour ne and Venice Gospels, concluded that they were produced i n the same monastic scri p- t or i um, because o f the probable monastic or i gi n o f the vi rtues i conography and the presence o f the portrai t o f the mo nk Theophanes at the begi nni ng o f the Mel bour ne manuscri pt (fig. 20) . 5 8 The i nscri pt i on ac- uscript possibly relevant to the group is the Lafskali Gospels, men- tioned i n Spatharakis, "Grammar," p. 241, and illustrated i n J. Mourier, L'art en Caucase, 3rd ed. (Brussels, 1912), p. 239. 55. Buchthal, "Escorial," pp. 85-87. 56. Spatharakis, "Grammar," p. 235. 57. A. Weyl Carr, " A Group of Provincial Manuscripts from the Twelfth Century," Dumbarton Oaks Papers 36 (1982), pp. 67-81. 58. Buchthal, "Melbourne, " pp. 145-146. 64 Nelson Figure 13. Eusebi an letter. Ne w Testament, fol. l r . Const ant i nople, 1133. Pen and i nk o n vel l um. H: 220 mm ( 8 5 / 8 ") ; W: 180 mm (7"). Mal i b u, The J. Paul Get t y Mus eum Ms. L ud wi g I I 4; 83.MB.68. Figure 14. Eusebian letter. Gospel book, fol. 2r. Co n - stantinople, second quarter o f the t wel ft h century. Tempera and gol d on vel l um. H: 242 mm (9V 2 "); W: 174 mm (67s"). Mel bour ne, Nat i onal Gallery o f Vi ct or i a MS . Felt on 710/5 ( Felton Bequest 1959). Phot o: Court esy Nat i onal Gallery o f Vi ct or i a, Mel bour ne. companyi ng the mi ni at ur e identifies h i m as the donor, scribe, and i l l umi nat or o f the manuscript. Cert ai nly Theophanes must have been responsible for the book's creation, but whether he was the actual scribe and painter is not enti rely clear. 5 9 Thus the mi ni at ur e may either be a rare self-portrait o f a scribe and i l l umi nat or or yet another representation o f a patron presenti ng his book to the Vi r gi n. I n any event, the connecti on be- t ween the Mel bour ne and Venice Gospels may be dr awn tighter, for they are not merely products o f the same scri pt ori um. They are wr i t t en by the same scribe, as the compari son o f the same texts i n the t wo wi l l indicate. For example, the letters o f Eusebius at the begi nni ng o f each volume (figs. 14, 15) not onl y have si mi lar or- namental frames but also share the same letter forms 59. It was common for patrons of all sorts to claim i n an inscrip- ti on that they had made, built, etc., the object. To take one example close i n date, Mount Sinai gr. 339 of the mi d-twelfth century contains a note stating that the Abbot Joseph of the Pantocrator monastery "made the silver-white book dappled wi t h wrought gold" and gave it and li gatures. 6 0 To j udge fr om the begi nni ngs o f the Gospels, this scribe also wr ot e the mai n texts o f bot h volumes. Furthermore, the measurements o f the t wo Gospel books are related. The Mel bour ne manuscri pt (242 x 174 mm) is t wi ce the size o f the Venice volume (175 x 123 mm) ; the wi d t h o f the former equals the lengt h o f the latter, and t wi ce the wi d t h o f the latter approxi - mates the lengt h o f the former. The books' scribe must have folded the uni t o f parchment used for the larger volume once more for the smaller volume. Ot her si mi - lar pairs o f manuscripts are known, and one set is docu- mented as havi ng been produced at the same t i me. 6 1 O f the t wo manuscripts, the Mel bour ne Gospels wo ul d have been the more expensive, because even t hough i t is to the monastery of the Theotokos Pantanassa. Joseph is neither the scribe nor the illuminator of the manuscript, but its patron. See J. C. Anderson, "The Illustration of Cod. Sinai. Gr. 339," The Art Bulletin 61 (1979), pp. 167-168. 60. Compare the word btXegavopeus i n line 3 of Melbourne (fig. Theoktistos and Associates 65 Figure 15. Eusebian letter. Gospel book, fol . I r . Co n - stantinople, second quarter o f the t wel ft h century. Tempera and gol d on vel l um. H: 175 mm (67s"); W: 123 mm (47s"). Venice, Bi b l i o- teca Nazi onale Marci ana cod. gr. Z 540. Pho- t o: Cour t esy Bi bli ot eca Nazi onale Marci ana, Venice. Figure 16. Eusebian letter. Gospel book, fol. l r . Co n - stantinople, second quarter o f the t wel ft h century. Pen and i nk on vel l um. H: 117 mm ( 4 5 / 8 ") ; W: 84 mm ( 3 5 / i 6 ") . Ne w Yor k, H. P. Kraus collect i on. Phot o: Court esy H. P. Kraus, Ne w Yor k. t wi ce as large, i t has nearly the same number o f folios (254) as the Venice manuscri pt (275). Gi ven that bot h contai n the same text, one wo ul d expect the Mel bour ne manuscri pt to have hal f the number o f folios o f its t wi n , i f thei r cost o f materials had been the same. Theokti stos, wi t h his squarish letters and diagonal abbreviation signs, wr ot e rather differently than the scribe o f the Venice and Mel bour ne Gospel books, but i n the latter context, the anomalous style o f Eusebius' letter i n the Getty Ne w Testament (fig. 13) suddenly becomes significant. A number o f letters and ligatures here are so si mi lar to the Gospel books (figs. 14, 15) that the same person probably penned the Eusebian letters o f all three books. 6 2 It thus should not be surpri si ng that the three sets o f canon tables employ the same orna- mental repertory. For example, the marbleized columns, painted alternately blue or green, and the many red bases and capitals are practically identical to those i n the onl y color reproducti on published fr om the Mel bour ne Gospels. Moreover, a peculiar flower-leaf wi t h a hole at the side is the pri nci pal decorative mo t i f o f a canon table i n the Get t y volume (fig. 10) and a headpiece i n the Mel bour ne manuscri pt . 6 3 The precise relationship be- tween the i llumi nat or s o f the three books is not clear, because, to take one example, the designs o f the canon table spandrels and the headpieces are unrelated. At the very least, however, i t may be concluded that all three books are the products o f contemporary Constan- t i nopoli t an painters. These artisans may be traced i n yet one more manu- 14) and line 4 of Venice (fig. 15); the word 8iacJ)0apf|vai i n line 8 of Melbourne and line 10 of Venice; or the words el\Ti(|)a)sa(|)op|x&s i n line 14 of Melbourne and line 16 of Venice. 61. See R. S. Nelson and J. L. Bona, "Relative Size and Compara- tive Value i n Byzantine Illuminated Manuscripts: Some Quantitative Perspectives," forthcoming i n Biblioteca di scrittura e civiltd. 62. Compare the same words cited i n note 60 and found i n Getty on lines 2, 7, 13. Or compare the form of the word d8eX(()win line 1 of Getty wi t h that i n line 3 of Venice. 63. Buchthal, "Melbourne, " fig. 303. 66 Nelson Figure 17. Canon table. Gospel book, fol . 5r. Co n - stanti nople, second quarter o f the t wel ft h century. Tempera and gol d on vel l um. H: 117 mm (4 5 /s"); W: 84 mm ( 3 5 / i 6 ") . Ne w Yor k, H. P. Kraus collect i on. Phot o: Cour t esy H. P. Kraus, Ne w Yor k. script, a di mi nut i ve Gospel book that has received li t t le attenti on to date. Its canon tables (fig. 17) display the same combi nati ons o f columns and capitals i n the i den- tical shades o f red, green, and blue as the preceding books. Formerly owned by the Marquess o f Bute, the manuscri pt has been i n the collecti on o f Mr . H. P. Kraus since 1983. 6 4 Its small size (117 X 84 mm) di s- tinguishes i t fr om the average Gospel book and suggests a private funct i on. 6 5 Decorated onl y wi t h canon tables, the manuscri pt, nevertheless, is carefully wr i t t en and is o f hi gh quality. Its tables are si mpler than those o f the Get t y Ne w Testament, because the need to accommo- 64. I . C. Cunningham, Greek Manuscripts in Scotland: Summary Catalogue (Edinburgh, 1982), p. 18; Sotheby Parke Bernet & Co., Cata- logue of the Bute Collection of Forty-Two Illuminated Manuscripts and Mini- atures (London, 1983), pp. 69. Two tables are illustrated i n color on p. 6. I thank Ms. Mary Ann Mi tchell of the fi r m of H. P. Kraus for sending me information about the manuscript. 65. See the study of Weyl Carr (supra, note 25). The manuscript is cited on p. 156. It should be noted that the manuscript is one-half the size of the Venice Gospels and one-fourth that o f the Melbourne Gospels, a further indication of the relationship of all three. 66. In the latter, the same band is repeated on folio 269r i n gold date the lists o f numbers on a much smaller page neces- sitated the abri dgment o f the decorated spandrels. Nev- ertheless, li ke the Mel bour ne and Get t y manuscripts, the Kraus Gospels has fourteen pages o f canon tables. Its Eusebian letter (fig. 16) is wr i t t en by the person who wr ot e the other three letters (figs. 1315) and is i nt r o- duced by a si mple wavy band identical to that o f the Getty manuscri pt (fig. 13) . 6 6 The general ornamental vocabulary o f the tables i n these manuscripts belongs to the larger context o f t welft h-cent ury Const ant i nopoli t an i l l umi nat i on and leads qui ckly to the group o f the aforementioned Ko k - kinobaphos manuscripts. The Codex Ebnerianus at Ox- ford also uses the green and blue columns and the red capitals i n its canon tables. 6 7 Moreover the scalloped de- sign used for some arches (figs. 7, 9) and borders (figs. 2225) i n the Get t y manuscri pt frames the evangelists i n another manuscri pt o f the group (Patmos, Monast ery o f Saint John cod. 274) . 6 8 Yet whi l e certain ornamental moti fs are generally characteristic o f hi gh quali ty i l - l umi nat i on fr om the capital, the common format o f the Getty, Kraus, and Mel bour ne manuscripts distinguishes t hem fr om those Kokki nobaphos-school manuscripts that st i l l preserve thei r canon tables 6 9 and suggests a closer ki nshi p for these porti ons o f the three manuscripts. Paleography, however, leads i n different directions. To recapitulate, Theokti stos, the copyist o f the mai n part o f the Getty Ne w Testament, collaborated wi t h a second scribe, who di d the Eusebian letter and the l i t ur - gical tables. The latter also wr ot e the Mel bour ne and Venice Gospels, as wel l as the Eusebian letter i n the li t t le book o f H. P. Kraus (fig. 16). The mai n text o f this last manuscri pt (fig. 18), however, is wr i t t en i n an en- t i rely different style and should be assigned to another scribe, whose hand can be detected i n yet another mem- ber o f the Kokki nobaphos group, a Gospel book i n Paris ( Bi bli otheque Nati onale gr. 75) . 7 0 A compari son o f the first pages fr om Mar k i n the t wo books (figs. 18, 19) reveals a number o f i denti cal letter forms and li ga- tures 7 1 and a si mi lar quiet, somber r hyt hm, so different fr om the correspondi ng pages i n the Mel bour ne 7 2 and (illustrated i n Lake [supra, note 26], pi. 198) and on the following pages i n red. The mot i f is a common one, admittedly, but the precise execution is consistent i n both the Getty and Kraus manuscripts and is further evidence that these sections are by the same hand. 67. Described i n Hutter, Corpus, vol. 1, pp. 6162. 68. G. Jacopi, "Le miniature dei codici di Patmo," Clara Rhodos 6-7 (1932-1941), fig. 131. 69. For example, Rome, Vatican Urb. gr. 2 has ten pages; the Codex Ebnerianus, nine pages; and Paris, Bibliotheque Nationale gr. 71, seven pages. 70. Anderson, "Examination, " pp. 3640, where the manuscript Theoktistos and Associates 67 Figure 18. Fi rst page o f the Gospel o f Mar k. Gospel book, fol . 132r. Const ant i nople, second quar- ter o f the t wel ft h century. Tempera and gol d on vel l um. H: 117 mm (4 5 /s"); W: 84 mm (37i6"). Ne w Yor k: H. P. Kraus col l ect i on. Phot o: Court esy H. P. Kraus, Ne w Yor k. Figure 19. Fi rst page o f the Gospel o f Mar k. Gospel book, fol . 95r. Const ant i nople, second quar- ter o f the t wel ft h century. Tempera and gol d on vel l um. H: 179 mm (7"); W: 127 mm (5"). Paris, Bi bli ot heque Nat i onale gr. 75. Phot o: Cour t esy Bi bl i ot heque Nati onale, Paris. Getty manuscripts (fig. 3). Moreover the same decora- tive flair seems to animate the i ni t i al alphas. The Kraus Gospels has onl y a simple band o f pseudo-Kufic orna- ment as headpiece for Mar k, whereas the Paris volume opens each Gospel wi t h a framed mi ni at ure pai nted ac- cordi ng to the style and i conography o f such Ko k - kinobaphos-school manuscripts as Vatican Ur b. gr. 2. 7 3 The latter's script i n t ur n is to be di sti ngui shed fr om that o f Paris, Bi bli otheque Nati onale gr. 75, whi ch bet- ter resembles the Paris Kokki nobaphos manuscri pt ( Bi bli otheque Nati onale, gr. 1208). 7 4 To trace further the intricate affiliations o f this large group is beyond the scope o f the present essay, but some parts o f the puzzle are becomi ng clearer. Bucht hal has shown that the Codex Ebnerianus and the Escorial Ne w Testament were wr i t t en by the same scribe but painted by different artists. 7 5 Thus i t is already possible to conclude that manuscript producti on i n Constantinople dur i ng the second quarter o f the t wel ft h century i n - volved shi fti ng associations o f scribes and i llumi nat ors, and i n this respect the Get t y Ne w Testament is a typi cal product o f the peri od. Consequently, to make at t r i bu- tions based onl y on script or i l l umi nat i on is to ignore the larger reality o f medieval craft practices. is compared wi t h Rome, Vatican Urb. gr. 2; and idem (supra, note 31), pp. 89, 95. It is unfortunate that someone erased two lines of text at the end of the Gospel of John and the beginning of the li tur- gical tables i n the Kraus manuscript (fol. 429r). These may well have been the book's original colophon. They were not readable wi t h ultra- violet light. In the Getty manuscript the colophon appears i n the same position after the conclusion of the canonical texts and before the Synaxarium. 71. Cf the words irpo<()TiTais i n line 2 of both and (jxovnn i n line 7 of the Kraus manuscript and line 6 of the Paris manuscript. 72. Buchthal, "Melbourne, " fig. 302. 73. C. Stornajolo, Miniature delle omilie di Giacomo Monaco (Cod. vatic, gr. 1162) e delVevangeliario greco urbinate (Cod. vatic, urbin. gr. 2) (Rome, 1910), pi. 86. 74. I follow Anderson ("Examination," pp. 143146) on these re- lations. In the present context, I am not considering the intricate codicological details of these manuscripts, a matter not wi thout inter- est. Paris gr. 75, for example, is practically identical i n size (179 x 127 mm) to the Venice Gospels (175 X 123 mm) . 75. Buchthal, "Escorial," pp. 85-87. 68 Nelson Figure 20. The mo nk Theophanes presenting a bo o k t o the Vi r g i n and Chi l d. Gospel book, f ol . l v . Constantinopl e, second quarter o f the t we l f t h century. Tempera and gol d o n ve l l u m. H : 242 m m (9V 2 "); W: 174 m m (6 7 /s"). Me l bour ne , Nat i onal Gal l ery o f Vi c - toria, MS . Fel ton 710/5 ( Fel ton Bequest 1959). Phot o: Court esy Nat i onal Gal l ery o f Vi ct ori a, Me l bour ne . The context thus established for the canon tables o f the Lu dwi g manuscript provides a useful f ramework for i nt erpret i ng the bits o f col or on f ol io l r (fig. 13), the onl y traces o f a mi ni at ure on the no w l ost verso fol io. Several o f these offsets may be seen at the upper left. I n the inner margi n, a l i ght bl ue pal mette grows f r o m a stem that twists and projects to the right. Be l o w are the dark bl ue remnants o f a capital, and l ower st i l l , dots o f l i ght green t rai l i ng do wn the page between the doubl e r u l i ng lines. Ext e ndi ng above and sl ightl y to the ri ght o f the capital are other patches o f the dark blue, the largest o f whi c h overlays the wo r d Encreios and is j o i ne d to a spot o f dark green, whi c h obscures the wo r d 'Afiuxiovios. Dot s o f red and orange adjoin this offset. Final l y i n the top left corner o f the page, 76. The codicology o f the manuscript is analyzed i n Manion and Vines (supra, note 51). The frames of the missing evangelist portraits are visible on the first pages o f the Gospels, as noted by Buchthal, Figure 21. The t wel ve apostles. Ne w Testament, f ol . 134v (excised). Constantinopl e, 1133. Te m- pera and gol d o n ve l l u m. H : 185 m m (J X U")\ W: 135 m m ( 57i 6 ") . Athens, Paul Canel l o- poul os col l ection. bits o f dark bl ue have adhered to an area between the doubl e rul ings. The key to interpreting these offsets is as close as f ol io 2r (fig. 6). The pal mette corresponds to one here or on f ol io 6v (fig. 11), and the bl ue area bel ow can onl y be f rom a dark bl ue capital l i ke those o f the canon ta- bles. These portions o f the missing l eaf must have been coordinated w i t h the tables, for the offset pal mette is onl y a few mi l l i met ers higher on the page than its ana- l ogue on f ol io 2r. Li ke the capitals o f the canon tables, the offset capital is bisected by the r u l i ng lines o f f ol io l r. The specks o f col or bel ow also fal l between the r u l - ings and must therefore be the remnants o f a green c ol umn that corresponds to one o f the outer ones elsewhere, for example, f ol io 2v (fig. 7). Above the capi- "Mel bourne, " p. 145. 77. Hutter, Corpus, vol . 1, pp. 60-61, fig. 225. 78. Buch thai (supra, note 52), p. 36. Theoktistos and Associates 69 tal the dark blue and green patches wi t h red and orange touches are fr om a leaf analogous to one i n the same area o f foli o 5v (fig. 10), and the smear o f color i n the upper left corner probably came fr om a projecti ng fi ni al. Presumably the overall design was symmetri cal, so that one may reconstruct another col umn, capital, and palmette on the opposite side o f the page, but there is no way to kno w i f the lost i l l umi nat i on had a central col umn li ke the tables that follow. To achieve such pre- cise agreement wi t h the tables, the mi ssi ng page was doubtlessly ruled i n the pattern o f folios 17. Fortunately or unfortunately, no more o f the mi ssi ng page was damaged by rubbi ng, so that one is left wi t h only these scattered clues; somethi ng, nevertheless, can be said about the whole page. It must have been part o f the ori gi nal pr ogr am o f decoration, because i t was ruled li ke the first quire, and i t must have been pai nted by the ori gi nal i llumi nat or , whose blues have also rubbed o f f i n the same areas o f the canon tables (figs. 612). Whi l e designed to match the tables, the page was probably not part o f the book's i ni t i al quaterni on, qui ni ons bei ng rare i n Byzanti ne manuscripts, but may rather have been a si ngleton or a bi foli o set before the first regular quire. It cannot, o f course, have been a canon table, because these were complete, but the manuscri pt i t self provides no further clues as to the content o f the mi ss- i ng page, so one must l ook elsewhere. Byzanti ne Gospel books or Ne w Testaments mi ght be i ntroduced by a variety o f themes, Chri st and the four evangelists, the Deesis, a cross, etc., but the con- temporaries o f the Getty Ne w Testament suggest more l i kel y possibilities. Once again the closest analogue is the Mel bour ne Gospels. It too has lost various mi ni a- tures, whose traces have also been preserved on the op- posite pages. Its first foli o (fig. 20) is a singleton, whi ch faces a regular quaterni on contai ni ng, as i n the Get t y manuscript, the letter o f Eusebius (fols. 2rv; fi g. 14) and or i gi nally seven folios, or fourteen pages, o f canon tables. 7 6 Foli o l v depicts the scribe, i llumi nat or , and/ or patron, Theophanes, presenting his manuscri pt to the Vi r gi n. The three handsome columns here complement the book's canon tables and suggest one way o f recon- structi ng the lost Get t y page. A second possi bi li ty is offered by the Codex Ebnerianus, where another large triple-arched structure frames the probable portraits o f Eusebius and Carpi anus. 7 7 The latter is the recipient o f Eusebius' letter, whi ch follows on the next page, as i t wo ul d have i n the Getty manuscript. Eusebius and Car- 79. Buchthal, "Escorial," pp. 8594. The Escorial manuscript is illustrated here and the Ebnerianus i n Hutter, Corpus, vol. 1, figs. 225-255. pianus were popular subjects i n the Comneni an peri od, appearing somewhat earlier i n the previ ously men- t i oned Parma and Oxfor d manuscripts and later i n the Vani Gospels, a book whose i l l umi nat i on follows Co m- nenian models rather closely. 7 8 The general program o f figural decoration i n the Getty volume is also understandable wi t hi n the context o f Comneni an book product i on. I n the subclass o f i l l umi - nated manuscripts, one volume Ne w Testaments are not common. By a wi de mar gi n i llumi nat or s and thei r pa- trons preferred the separate Gospel book over the less commonl y i llustrated Acts and Epistles, and i n the elev- enth and t wel ft h centuries they began to j o i n the Gos- pels and/or Ne w Testament to the Psalter to for m a personal devoti onal text. However, i n the peri od i n whi ch the Getty manuscri pt was created, t wo other i l - lustrated Ne w Testaments were also produced i n Co n- stantinople, the often noted Codex Ebnerianus and ms. X.IV.17 i n the li brary o f the Escorial, bot h wel l pub- lished and convi nci ngly attri buted to the second quarter o f the t wel ft h century. 7 9 Perhaps because such manu- scripts were bot h uncommon and hi ghl y luxuri ous, thei r i llust rat i on was not standardized. I n addi t i on to Eusebius and Carpianus, the famed Ebnerianus is re- plete wi t h ten author portraits j oi ned wi t h narrative scenes i n the lunettes above. The Escorialensis contains simpler seated evangelists wi t hout narrative accompani- ment and standing portraits o f the Acts and Epistles, arranged i n pairs over three consecutive pages. Nei t her decorative scheme is especially close to the Get t y volume, so that to understand more fully the background o f the latter's fi gural decoration, the i co- nography and style o f its mi ni atures require separate scrutiny. Perhaps the most unusual is the gr i d o f apos- tles that formerly prefaced the Acts and Epistles (fig. 21). As customary, the selection o f apostles includes Paul and the four evangelists i n a hierarchical arrange- ment, begi nni ng wi t h Peter and Paul at the top left. Tradi ti onally the four evangelists fol l ow thereafter and here f i l l the next four positions, but t radi t i on is con- travened by the placement o f Luke. Mar k and Luke, the j uni o r evangelists, nor mal l y defer to thei r senior col- leagues, John and Mat t hew, and consequently one wo ul d not expect to see Luke on the top r ow i n the t hi r d posi t i on. 8 0 Hi s elevated status must be a conse- quence o f the miniature's posi t i on before the Bo o k o f Acts, o f whi ch Luke is the author. The mi ni ature, then, is more a frontispiece to the Acts o f the Apostles than 80. One might compare the Acts frontispiece i n a late eleventh- century Psalter-New Testament i n the Vatopedi monastery on Mount Athos (cod. 762). The miniature, now i n the Walters Ar t Gallery, 70 Nelson Figure 22. Port rai t o f Mat t hew. Ne w Testament, fol . lOv. Const ant i nople, 1133. Tempera and gol d on vel l um. H: 220 mm (8 5 /s"); W: 180 mm (7"). Mal i b u, The J. Paul Get t y Mus eum Ms. L ud wi g I I 4; 83.MB.68. an i nt r oduct i on t o the rest o f the Ne w Testament. The for mal ori gi ns o f the composi t i on are to be sought i n certain earlier group author portraits, and as Ander son not ed, 8 1 the busts themselves wi t h thei r rounded si l - houettes are derived fr om medalli on images. The i conography o f the four evangelist portraits is less complex, and l ong ago Fri end correctly associated t hem wi t h evangelists fr om the ni nt h and t ent h cen- turi es. 8 2 The standing, as opposed to the seated evange- list, enjoyed its greatest populari t y at this t i me but ap- peared rarely i n the eleventh and t wel ft h centuries. Consequently i t evolved so li t t le that the Get t y evange- lists fi nd close iconographic antecedents i n manuscripts produced 150 years earlier. For example, a Gospel book i n Vi enna (Osterreichische Nat i onalbi bli ot hek cod. Theol. gr. 240) depicts Mat t hew standing (fig. 26), t ur ni ng i nwar d t oward the bi ndi ng, and hol di ng a half- shows six standing apostles i n two registers. At the top from left to right are Paul, Peter, and John and on the bottom Luke, Matthew, and Mark. Here the central position is the primary, so that Paul and John turn toward Peter, while Matthew occupies the center post below. The miniature is illustrated i n G. Vi kan, ed., Illuminated Greek Manu- Figure 23. Portrai t o f Mar k. Ne w Testament, fol . 45v. Const ant i nople, 1133. Tempera and gol d on vel l um. H: 220 mm (8 5 /s"); W: 180 mm (7"). Mal i b u, The J. Paul Get t y Mus e um Ms. L ud wi g I I 4; 83.MB.68. open book i n his hand, the stance assumed by the first three evangelists i n the Get t y manuscri pt (figs. 2224). Each man s r i ght ar m is enveloped i n a sli ng o f drapery, and bunches o f fabric fall fr om either side o f hi m. On l y John (fig. 25) deviates fr om the earlier model by t ur ni ng back to the hand o f God, whi ch projects fr om a quadrant o f heaven at the upper left. Fri end t ook this to be a "cont ami nat i on" fr om the common scene o f John l ooki ng back to heaven for i nspi rat i on whi l e di ctati ng to his disciple Prochoros, 8 3 a composi t i on that does ap- pear i n the Gospel books o f the contemporary Ko k - kinobaphos gr oup. 8 4 However, the wo r d contamination, even i f its context for Fri end was probably phi lologi cal, is pejorative, connot i ng a haphazard or even mi staken alteration. I n a manuscri pt o f the quali ty o f the Get t y Ne w Testament, not hi ng is accidental, and other ex- planations for the portrai t should be sought. Indeed a scripts from American Collections (Princeton, 1973), fig. 37. 81. Anderson, "Examination, " pp. 6768. 82. Friend (supra, note 7), p. 125. 83. Ibid. 84. For example, Mount Athos, Panteleimon cod. 25: S. M. Theoktistos and Associates 71 Figure 24. Portrait o f Luke. Ne w Testament, f ol . 69v. Constantinopl e, 1133. Tempera and gol d o n ve l l u m. H : 220 m m (8 5 /s"); W: 180 m m (7"). Mal i bu , The J. Paul Get t y Mu s e u m Ms. Lu dwi g I I 4; 83. MB. 68. better analogy is provided by a rare seated portrait o f John i n a later el eventh-century l ectionary i n the Vat i - can Li brary (gr. 1156). There al l four authors t urn i n- ward toward their texts on the facing rectos, but onl y John twists his head back toward the hand o f God i n the upper left corner o f the miniature. The type, as Buchthal has shown, derives f rom early sources c o mmo n to later Byzantine and Carol ingian i l l u mi na- t i on and is to be explained by the Earl y Christian notion that onl y John among the four evangelists was di vi nel y inspired. 8 5 The Getty portrait may be interpreted as a possibl y unique standing variation o f the inspired evangelist painted by an i l l umi nat or, who doubtl essl y was aware o f the contemporary depictions o f John and Prochoros. Formal l y the manuscript' s four evangelists are i mpo r - tant witnesses to the styl istic concerns o f this particul ar Pelekanidis et al., The Treasures of Mount Athos (Athens, 1975), vol . 2, fig. 326. 85. H. Buchthal, " A Byzantine Miniature of the Fourth Evange- list and Its Relatives," Art of the Mediterranean World A.D. 100 to 1400 (Washington, D.C., 1983), pp. 131-133, fig. 283. The most recent Figure 25. Portrait o f John. Ne w Testament, f ol . 106v. Constantinopl e, 1133. Tempera and gol d o n ve l l u m. H : 220 m m ( 8 W) ; W: 180 m m (7"). Mal i bu , The J. Paul Get t y Mu s e u m Ms. Lu dwi g I I 4; 83. MB. 68. artist and to general trends i n Byzantine pai nt i ng o f the period. Li ke the fourteen canon tables and the missing frontispiece at the beginning, the portraits are products o f a singul ar desire for uni f ormi t y. As noted above, the i l l umi nat or rul ed the parchment especially for the evan- gelists and the canon tables, so that al l are approx- imatel y equal i n height. Wi t h such an artist, i t is not surprising, i f a bi t disappointing, that the same figure type was used for al l four evangelists. The i r dimensions are so simil ar that he may have mechanical l y re- produced his model i n some manner. What he varied were the outer drapery, and hence the breadth o f the figures; the head types; to some extent the position o f the feet; and, o f course, the col oring o f the garments. Even John fits the pattern, except for his turned head, whi c h again can hardl y be a casual variation. Since the draperies range wi de l y i n basic col or and hi ghl i ght i ng study o f the portraits i n Vatican gr. 1156 is I . Spatharakis, " An Unusual Iconographic Type of the Seated Evangelist," AeA/uov Xpi ori avi KT^ pxai o. oyiK f| s c ETaipeias ser. 4, 10 (19801981), pp. 137-146. 72 Nelson Figure 26. Portrait o f Mat t he w. Gospel book, f ol . 8v. Constantinopl e, t ent h century. Tempera and go l d o n ve l l u m. H : 215 m m ( 8 7 / i 6 " ) ; W: 154 m m (6"). Vi enna, Osterreichische Nat i o nal - bi bl i ot he k cod. The ol . gr. 240. Phot o: Co u r - tesy Osterreichische Nat i onal bi bl i ot he k. and because each figure is separated by many pages i n the manuscript, their c o mmo n design is not readil y per- ceived, nor is i t particul arl y disconcerting i n situ. The qual ity o f execution equals the finest achieve- ments o f Constantinopol itan miniaturists i n what is a major period i n the history o f Byzantine i l l umi nat i on. The dark, ri ch colors o f figures, such as Mar k, are hal l - marks o f the Kokki nobaphos style, and the l i ned fore- heads and worri e d expressions o f the evangelists and o f the apostles on the missing l eaf (fig. 21) find parallels i n the Paris Kokki nobaphos vol ume and i n the vari - ous Gospel books o f the group. 8 6 Whether the painter o f the Getty miniatures was a member o f the inner ci r- cle o f artists o f the Kokki nobaphos group or, as is more l ikel y, an independent talent is, o f course, not easily 86. Anderson ("Examination, " p. 68) compared the faces of the apostles on the missing leaf (fig. 21) wi t h some i n the Paris manuscript (Bibliotheque Nationale gr. 1208, fol. l v) illustrated i n H. A. Omont, "Miniatures des homelies sur la vierge du moine Jacques (Ms. Grec. 1208 de Paris)," Bulletin de la societe francaise de reproductions de manuscrits peintures 11 (1927), p. 1. Some evangelists i n the group have Figure 27. Portrait o f John. Cathedral , Cef al u, Sicil y, 1148. Mosaic. Phot o: Court esy Ernst Ki t zi nger. resolved and certainl y not wi t hi n the context o f the present study. The Getty i l l umi nat i ons, nevertheless, do hel p to define the achievements o f Constantino- pol itan i l l umi nat ors duri ng the second quarter o f the t we l f t h century. At first, the styl istic j uxt aposi t i on o f the Getty Mat - thew (fig. 22) w i t h the corresponding evangelist i n the tenth-century Vienna codex (fig. 26) mi ght seem to be to the detriment o f the later miniature. The massive, statuesque figure o f the Vienna Gospels is more convinc- i ngl y and subtl y model ed i n l i ght and shadow, so that i t appears to occupy physical space, but the i l l usi on is i m - mediatel y dispel l ed by the surrounding gol d ground onto whi c h an architectural backdrop has been etched. Perhaps sensing these and other contradictions, later i l - unfurrowed brows (Oxford, Christ Church gr. 32; Rome, Vatican Urb. gr. 2; Patmos cod. 274); others have even more troubled expres- sions than the Getty evangelists and apostles (London, British Library Burney 19; Mount Athos, Lavra A 44, two o f whose evangelists are i n the Walters Ar t Gallery i n Baltimore). 87. D. Mouri ki , "Stylistic Trends i n Monumental Painting of Theoktistos and Associates 73 Figure 28. Portrai t o f Bar t hol omew. Chur ch o f the Mar t or ana, Palermo, circa 1150. Mosai c. Phot o: Court esy Al i nar i / Ar t Resource, Ne w Yor k. lumi nat ors di sconti nued the incised designs and aban- doned, as wel l , the artificial classicism o f the t ent h cen- tury. Gradually li ne and surface pattern became the expressive tools o f the i llumi nat or , and by the end o f the t wel ft h century, monument al and mi ni at ure pai nt- i ng achieve remarkably expressionistic and mannered effects t hr ough exaggerated facial lines and bol dl y pat- terned hi ghli ghts. The Get t y evangelists stand mi dway between the flat, dematerialized, passive figures o f the eleventh century and the turbulent excesses o f the late t wel ft h century and are valuable witnesses to the stylistic preoccupa- tions o f Byzanti ne painters dur i ng the first hal f o f the t wel ft h century, a t i me when li t t le survives i n fresco or mosaic. 8 7 A figure li ke the Get t y John (fig. 25) helps explain the crucial transformati on i n Byzanti ne pai nt i ng between the soft model i ng and gentle demeanor o f the standing prophets at the late eleventh-century church o f Daphni 8 8 and the taut, charged li neari sm o f the apostles o f 1148 at Cefalu. 8 9 The large, expansive figure o f John (fig. 27) i n the Sicilian apse has his r i ght ar m i n a drap- ery sli ng li ke his earlier counterpart i n the Getty Ne w Testament, but the formal differences between the t wo figures separated by fifteen years are revealing. No w the sli ng has become an autonomous for m, and the folds on the r i ght t hi gh have been organized i nt o a l ong oval. The standing apostles at the church o f the Martorana i n Palermo, whi ch are contemporary wi t h those at Cefalu, represent a further stage o f refi nement. 9 0 Here i n the analogous figure o f Bar t hol omew (fig. 28), there is a greater di sjuncti on between the sli ng and the folds on the adjacent upper arm. Below, the lines on the t hi gh have coalesced i nt o a single, t i ght l y coi led spiral that spills do wn the mi ddl e o f the figure and unifies the lower body. Compared to the softer hi ghl i ght i ng i n earlier works, such as the Daphni prophets, the garments o f Luke i n the Getty Ne w Testament (fig. 24) are almost garishly adorned wi t h stark whi t e lines. These no longer model, so as to give the i llusi on o f the t hi r d di mensi on, as i n the tenth-century mi ni at ure i n Vi enna (fig. 26), but flit across the surface as r andomly as the patterns o f shat- tered glass and wi t h such li t t le regard for the body un- derneath that the figure is thereby flattened. The tech- nique is used elsewhere i n the peri od, as, for example, i n the figure o f Solomon i n an approxi mately cont em- porary Psalter at the Di onysi ou monastery on Mo un t At hos (cod. 65) 9 1 or the mosaics o f the Mar t or ana. 9 2 Thr ough these and other abstractions, the drapery be- gins to divorce i t self fr om the under lyi ng anatomy i n order to serve the expressive purposes o f the artist. The stage is thus set for the rapi d evolut i on o f what has been termed the Dynami c st yle 9 3 o f later t welft h-cent ury pai nti ng. That phase o f monument al pai nt i ng is pr i n- ci pally preserved i n provi nci al monuments. Because so li t t le o f t welft h-cent ury monument al pai nt i ng survives i n met ropoli t an centers, mi ni atures as wel l documented as those o f the Get t y Ne w Testament constitute i m- portant evidence o f the t welft h-cent ury Const ant i no- poli t an t radi t i on. Greece Duri ng the Eleventh and Twelfth Centuries," Dumbarton Oaks Papers 34-35 (1980-1981), pp. 102-103. 88. E. Diez and O. Demus, Byzantine Mosaics in Greece: Hosios Lucas and Daphni (Cambridge, Mass., 1931), figs. 5463. 89. O. Demus, The Mosaics of Norman Sicily (New York, 1950), pis. 1, 4. 90. Ibid., pis. 51-52. 91. Pelekanidis (supra, note 84), vol. 1, fig. 124. 92. Demus (supra, note 89), pi. 50 B. 93. The term is that of E. Kitzinger, see, for example, "The Byz- antine Contribution to Western Ar t of the Twelfth and Thirteenth Centuries," Dumbarton Oaks Papers 20 (1966), p. 30. 74 Nelson Thr o u gh its expl icit col ophon and its script and i l - l umi nat i on, Ms. Lu dwi g I I 4 also serves to introduce the compl ex rel ationships that existed between the pro- ducers and patrons o f del uxe books o f the period; this is the last context i n whi c h the manuscript shoul d be con- sidered. As the foregoing has shown, ever changing combinations o f scribes and i l l umi nat ors col l aborated to produce manuscripts, a wo r ki ng me t hod that wo u l d have been facil itated by the large urban envi ronment o f medieval Constantinopl e, as i t was i n major western European centers o f the later Mi ddl e Ages. 9 4 Onl y the scribes are documented by col ophons, the usual state o f affairs for al l periods o f Byzantine manuscript i l l u mi na- t i on. The existence o f separate i l l umi nat ors may be de- duced, however, whe n one encounters different paint- i ng styles i n manuscripts by the same scribe or, the opposite, different wr i t i ng styles i n manuscripts wi t h the same i l l u mi nat i o n. Yet, whi l e i t seems noncontroversial to attribute the decoration o f the Codex Ebnerianus and the Escorial Ne w Testament to different individual s, the narrower differences among members o f the Kokki nobaphos group are more dif f icul t to expl ain. Are these manu- scripts the product o f a single artist capable o f varyi ng his style, a single artist wo r ki ng w i t h a number o f younger assistants, an ongoi ng workshop o f several painters, or a more amorphous " school " o f i l l u mi na- tors? What is the rel ationship o f the group to the si mi - lar, but not identical , style o f the Getty Ne w Testament? Moreover, what is the connection o f the latter's decora- t i o n w i t h the Gospels i n Mel bourne, Venice, and Ne w York? A l l four share the same scribe, but there is a considerable difference i n style between the large, v i g - orous Getty evangelists and the thinner, more desic- cated figures i n the Venice manuscript. One can onl y concl ude tentativel y that three scribes and one to three i l l umi nat ors col l aborated on the four books. Whi l e Theoktistos regrettabl y does not state where and for w ho m he wrot e his Ne w Testament, more is becomi ng kno wn about the patrons o f simil ar manu- scripts duri ng the second quarter o f the t we l f t h century. I n concl uding this investigation i nt o ho w such manu- 94. For example, compare the situation i n thirteenth-century Paris: R. Branner, Manuscript Painting in Paris during the Reign of Saint Louis (Berkeley, 1977), pp. 111; or that i n fifteenth-century Bruges: J. D. Farquhar and S. Hindman, Pen to Press (College Park, 1977), pp. 27-29. 95. I have borrowed the metaphor of the l oom from J. G. Wil l iams, The Art of Gupta India (Princeton, 1982), pp. 5-6. 96. Supra, note 59. 97.. Supra, note 58. 98. Weyl Carr (supra, note 25), p. 134. The Kraus manuscript probably once contained a colophon. See supra, note 70. scripts came i nt o being, i t is necessary to consider pa- tronage. Scribes and painters f o r m onl y the wef t o f the historical fabric; the warp is social context: the patrons, audience, and f unction o f the books. 9 5 Because such is- sues have been insufficientl y studied as they re- late to Byzantine i l l umi nat i on, they are difficul t to probe i n depth. I t is possible, however, to reconsider recent studies that have so far remained isolated and indepen- dent o f each other, to incl ude additional prosopographi- cal details, and thereby to specify some o f the possible patronage model s prevail ing i n Constantinopl e duri ng the second quarter o f the t we l f t h century. Monastic patronage is i ni t i al l y the most relevant to Theoktistos and the Getty Ne w Testament for reasons that shoul d no w be clear. Theoktistos and Arsenios bot h copied manuscripts for the Abbo t Maxi mo s o f the Prodromos-Petra monastery i n Constantinopl e. The mo nk Theophanes was, at mi ni mu m, the patron o f the Me l bourne Gospels and may also have been its scribe and i l l umi nat or, i f the i nscri pt i on on the frontispiece (fig. 20) is to be taken l iteral l y. 9 6 Thus i t may have been Theophanes who col l aborated w i t h Theoktistos and wrot e al l or part o f the Venice and Kraus Gospels. I n any event, the monastic context o f the Me l bourne Gos- pels is assured, and Buchthal has shown ho w its decora- t i on and that o f the Venice manuscript were intended for a monastic audience. 9 7 Al t ho u g h the Gospel book o f H. P. Kraus is presentl y undocumented, A. Weyl Carr has noted that the ex l ibris o f other such t i ny manu- scripts refer "al most excl usivel y to priests and monks, " not to lay people or wo me n. 9 8 Two other manuscripts w i t h monastic affil iations provide further evidence concerning monastic patrons and audiences i n this period. The first is the aforemen- tioned Psalter at the Di onysi ou monastery (cod. 65), whi c h has no w been correctl y assigned to the second quarter o f the t we l f t h century. 9 9 I t contains a fascinating series o f pre l i mi nary miniatures i l l ust rat i ng the death and sal vation o f monks, f ol l owed by an image o f a mo nk i n proskynesis before Mar y and the Christ chi l d. At the end, a col ophon states that the manuscript was wr i t t e n by the mo nk Sabas. On the next page, the five 99. I . Spatharakis, "The Date of the Illustrations of the Psalter Dionysiu 65," AeA/riov XpiorioiPiKfjs Apxai o\ o7i Kf j s c ETai pe Ca< ; ser. 4, 8 (1975-1976), pp. 173-177. 100. Ibid. The miniatures i n question are illustrated i n Pelekanidis (supra, note 84), vol . 1, figs. 121123, wi t h the exception of the cross page, and have been studied by R. Stichel, Studien zum Verhltnis von Text und Bild spt- und nachbyzantinischer Vergnglichkeitsdarstellungen (Vienna, 1971), pp. 70-73. 101. Anderson (supra, note 59), pp. 167168, fig. 1 102. P. Gautier, "Le typicon du Christ Sauveur Pantocrator," Revue des etudes byzantines 32 (1974), pp. 22-23. Theoktistos and Associates 75 letters o f Sabas' name, a pali ndrome, are inscribed i n ni ne circles that f i l l a large full-page cross. Accor di ng to I . Spatharakis, the uni nscri bed mo nk wi t h the Vi r g i n is this Sabas. Al t hough Sabas states that he wr ot e the manuscript, Spatharakis argues that he collaborated wi t h other scribes. 1 00 Li ke the Mel bour ne manuscript, then, the Di onysi ou Psalter portrays its monastic patron and/ or scribe before the Vi r g i n and Chi l d, but its deco- rative pr ogr am is more expli ci t ly addressed to monks. Wi t h the second manuscript, document at i on is more i nformat i ve than decoration. Toward the mi ddle o f the t wel ft h century, the Abbot Joseph Hagi oglykeri tes o f the Pantocrator monastery i n Constanti nople commi s- sioned a handsome i llustrated manuscri pt o f the Homi- lies of Gregory Nazianzenus at Mo un t Sinai (gr. 339). A n impressive calligraphic i nscri pt i on at the begi nni ng an- nounces that Joseph dedicated the book to the monas- tery o f the Theotokos Pantanassa on the island o f Hagi a Glykeri a near Constanti nople. 1 0 1 Thi s Joseph, who is elsewhere attested as abbot o f the monastery i n 1149, probably died about 1154/55. 1 02 The book's ornament connects i t wi t h the Kokki nobaphos style, but its fi gural mi ni atures poi nt i n other directions; exactly where is unclear. 1 0 3 The abbot mi ght have commi ssi oned the book fr om his o wn scri pt ori um, but unl i ke the Pr o- dromos-Petra monastery, there is no other evidence about the wr i t i ng or the decorating o f manuscripts at this major Comneni an establishment. 1 0 4 Thus, i n vi ew o f what has been learned about contemporary patterns o f product i on, i t wo ul d be unwi se to associate those who wr ot e and decorated the manuscri pt too closely wi t h the Pantocrator monastery. Wi t hout a doubt, the patron and the i ntended au- dience for the book were monastic, but the extent to whi ch these circumstances governed the manuscript's i magery has scarcely been exami ned. Indeed, i t has onl y been noted i n passing that Gregory is shown at the begi nni ng as a monk, not a bishop, a change described as "unhi st or i cal" and attri buted to "the direct influence o f monasti ci sm, whi ch became very marked i n the t hought o f Byzant i um i n the eleventh century and la- ter." 1 0 5 Rather than resorti ng to a Zeitgeist, i t is more 103. Anderson (supra, note 59), pp. 170185. 104. Little is known about the monastery's library. See Janin (supra, note 19), p. 521. 105. G. Galavaris, The Illustrations of the Liturgical Homilies of Gregory Nazianzenus (Princeton, 1969), p. 25. 106. Most recently on the Pantocrator monastery there is R. Cormack, Writing in Gold: Byzantine Society and Its Icons (New York, 1985), pp. 200214. The charter is published by Gautier (supra, note 102), pp. 1-145. 107. F. Chalandon, Les Comnene, etudes sur Vempire byzantin au Xle et au Xlle siecles: II. 1 Jean I I Comnene et Manuel I Comnene (Paris, reasonable to l ook to the donor and recipient o f the manuscript. Pi ctori al genealogy, not mot i vat i on and i n - t ent i on, has been the central concern o f previous schol- arship. It has yet to be established to what elements o f society the illustrated copies o f this text were addressed and if, for example, i t makes a difference whether the patron is a male aristocratas i n the case o f a manu- script on Mo un t At hos ( Di onysi ou cod. 61)or the ab- bot o f an i mper i al monastery. Al t hough art historians have tended to di sti ngui sh between monastic and aristocratic manuscripts, the dis- tance fr om the Pantocrator or the Prodromos-Petra monasteries to the i mperi al court was not far geographi- cally, culturally, or socially. The association o f Emperor Manuel Comnenus wi t h the Prodromos-Petra monas- tery was noted previously. Manuel's parents, John I I and Irene, the rei gni ng monarchs at the t i me when Theok- tistos wr ot e the Get t y Ne w Testament, founded the Pantocrator monastery, and its charter, signed by John i n 1136, regulated myr i ad details o f dai ly life. A chapel at the monastery served as a dynastic buri al place for the Comneni , and various aristocrats and intellectuals were associated wi t h the i nst i t ut i on i n one way or another. 1 0 6 For example, to protect his throne dur i ng the 1140s, Manuel had sequestered at the Pantocrator monastery his sister-in-law, the Sebastokratorissa Irene, the wi fe o f his deceased older brother, Andr oni cus. 1 0 7 Thi s Irene was a major patroness o f arts and letters i n t welft h-cent ury Constantinople. Constanti ne Manasses dedicated to her his Chronicle of the History of the World from Adam to 1081 and prepared an astrological treatise for her as wel l . John Tzetzes, who held a post at the Pantocrator monastery and corresponded wi t h its ab- bot, Joseph, dedicated his Theogony to her. " Man - ganeios" Prodromos wr ot e a number o f poems for her and members o f her fami l y fr om 1138 unt i l her death i n the early 1150s. Finally, Theodoros Prodromos dedicated to her an astrological poem and a grammati cal treatise, the ori gi nal version o f whi ch may st i l l exi st. 1 0 8 The manuscri pt i n question, now at the Greek Or t hodox Patriarchate i n Jerusalem (cod. Taphou 52), is decorated wi t h ri ch ornament i n the style o f the Ko k - 1912), reprint (New York, 1960), p. 213. 108. That patronage is surveyed i n ibid, and i n C. Diehl, Figures byzantines ser. 2 (Paris, 1913), pp. 142153, but has now received a more thorough treatment by E. M. Jeffreys: "The Comnenian Back- ground to the 'Romans d'antiquite," Byzantion 50 (1980), pp. 473474, 478481; "The Sevastokratorissa Eirene as Literary Patron- ess: The Monk Iakovos," JOB 32/3 (1982), pp. 63-71; "Western I nfi l- tration of the Byzantine Aristocracy: Some Suggestions," The Byzan- tine Aristocracy IX to XII Centuries, BAR International Series 221, ed. M. Angold (Oxford, 1984), pp. 204-207. The individual authors are 76 Nelson kinobaphos school . 1 0 9 The same ornament Anderson noted i n a del uxe copy o f letters wr i t t e n by a mo nk named Iakovos (Paris, Bibl iotheque National e gr. 3039). 1 1 0 Accordi ng to E. Jeffreys, the addressee o f these letters was the Sebastokratorissa Irene. 1 1 1 Bo t h manu- scripts may be reasonably credited to the patronage o f Irene, who f r o m other poems is kno wn to have donated hangings and l iturgical vessels to churches. 1 1 2 I t is t empt i ng, therefore, to take the next step and also to associate w i t h Irene the il l ustrated copies o f the ho mi - lies o f the mo nk Iakovos Kokkinobaphos produced by the " wo r ksho p" responsible for her manuscripts that are no w i n Paris and Jerusalem and to equate the Iakovos o f the letters w i t h the Iakovos o f the homil ies. Jeffreys, once hesitant, is no w more amenable to the idea. 1 1 3 Irene, thus, provides an excellent mode l o f aristocra- tic patronage o f del uxe manuscripts, i n part because her activities are so we l l documented. Amo ng the few other individual s that emerge f rom the stark anonymi t y o f most contemporary Byzantine i l l u mi nat i o n is the Sebastokrator Isaac Comnenus, the renovator o f the monastery o f the Chora i n Constantinopl e, near the Blachernae palace and the Prodromos-Petra monastery, and the founder o f the Kosmosoteira monastery i n Thrace, whose frescoed church st i l l survives. Thi s Isaac, the uncl e o f Irene's husband, is the probable patron o f the Seraglio Octateuch, a manuscript wi t h extensive narrative i l l ust rat i on painted i n several styles, i ncl ud- i ng that o f the Kokki nobaphos group, as Anderson has proposed. 1 1 4 Final l y, the name o f yet another Isaac Comnenus ap- pears at the back o f a Gospel book o f this group ( Ox- ford, Chri st Church gr. 32). Heretofore unnoticed en- tries record the births o f chil dren to the Pansebastos Sebastos Isaac i n 1172 and 1174 and perhaps 1171. The owner is probabl y to be identif ied as the Isaac Co m- nenus who was the grandson and namesake o f the pre- ceding Isaac by his daughter Anna. The younger Isaac surveyed in H. Hunger, Die hochsprachliche profane Literatur der Byzan- tiner (Munich, 1978), vol . 1, pp. 419-422; vol . 2, pp. 59, 113, 118, 243. 109. Spatharakis, "Grammar," pp. 231243. 110. Anderson, "Examination, " pp. 9798. 111. Jeffreys, "Sevastokratorissa" (supra, note 108). She gives the Paris manuscript's signature as gr. 3909, a slip. Anderson ("Examina- tion, " p. 97) reports it as gr. 3039, as does H. Omont, Inventaire sommaire des manuscrits grecs de la Bibliotheque Nationale (Paris, 1888), vol . 3, p. 97. The latest study on the letters is M. J. Jeffreys, "Iakovos Monachos, Letter 3," Maistor, Classical, Byzantine and Renaissance Stud- ies for Robert Browning (Canberra, 1984), pp. 241257. 112. Jeffreys, "Sevastokratorissa" (supra, note 108), p. 69. To my knowledge, none o f the other texts dedicated to Irene are preserved i n il l uminated manuscripts that are contemporaneous wi t h the patron. However, the Slavonic translation o f the Chronicle o f Manasses is il l us- (circa 1140circa 1190) received his titl e f r o m his mo t h- er's first cousin, the emperor Manue l I Comnenus. 1 1 5 Al t ho u gh the manuscript itsel f was produced duri ng the second quarter o f the t we l f t h century, the added notes, nevertheless, attest to the aristocratic connections o f the Kokkinobaphos group and suggest that the book functioned l i ke a modern f ami l y Bibl e. Mi g ht the later Isaac Comnenus have chosen to commemorate his c hi l - dren's births i n this particul ar manuscript because i t had been passed do wn t hrough t wo generations o f his famil y? Aristocratic associations may also be i mpl i e d by the famous portraits o f John I I Comnenus and his son Al exius i n the Vatican Gospel book ( Urb. gr. 2) . 1 1 6 Exactl y who mi ght have been the patron o f the manu- script is nevertheless unclear, i n spite o f the frequent assumptions, expl icit and i mpl i ci t , that are made about the matter. A n i mperi al portrait need not necessarily signal an i mperi al patron or owner, and indeed, The - odoras Prodromos wrot e a poe m about a pai nt i ng o f Emperor John I I that his brother, the Sebastokrator Isaac, commissioned for himsel f . 1 1 7 Unf ortunatel y, not hi ng is kno wn about the patronage o f yet another Gospel book o f the Kokkinobaphos group, the afore- mentioned Paris gr. 75, whose scribe is indirectl y l i nke d wi t h Theoktistos and the Getty Ne w Testament. The generalized i l l u mi nat i o n i n the latter t wo manu- scripts wo u l d have been suitable for a monastic or aris- tocratic audience i n t wel f t h-cent ury Constantinopl e, where compl ex associations among scribes, painters, and patrons were permi t t ed and encouraged. I n such a society, the distinction between monastic and aristocra- tic has l i mi t e d ut i l i t y. Del uxe manuscripts were expen- sive to produce. The materials used, gol d, precious col - ors, and parchment, were costly, and the skil l s o f artisans as tal ented as Theoktistos and his associates had to be honed over an extended period o f time, necessitat- i ng a hi gh l evel o f sustained patronage. I n general terms, that support was provided by the economic re- trated i n a mid-fourteenth-century Bulgarian manuscript, published by I . Dujcev, Die Miniaturen der Manasses-Chronik (Leipzig, 1965). Lazarev (supra, note 49, p. 395) thought that some of the miniatures were based on a "metropolitan prototype" o f the twel fth century, whil e others were created in the fourteenth century. A Greek copy of the Chronicle from the Palaeologan period (Vienna, sterreichische Nationalbibliothek Phil . gr. 149), contains a drawing of the author and patron at the beginning. See I . Spatharakis, The Portrait in Byzan- tine Illuminated Manuscripts (Leiden, 1976), pp. 158159, fig. 100. In view of Irene's literary and artistic interests, it might be worthwhil e to identify the Comnenian element i n these manuscripts. 113. E. Jeffreys expressed her reservations i n a JOB article (supra, note 108), pp. 6970. In a letter o f January 1987, she was more wi l l i ng to identify the Iakovos of the letters wi t h the Iakovos o f the homilies. A fuller treatment o f the problem wi l l have to await the important Theoktistos and Associates 77 surgence o f the Comneni an period, but more specifi- cally, i t was the product o f a compl ex social mat ri x. 1 1 8 One part comprised the Constantinopol itan elite, whi c h at this t i me l argel y meant the extensive relations o f the i mperi al f ami l y; and the other, the monasteries that they financed and i n whi c h they prayed, retired, and were buried. Theoktistos either resided i n a monastery, such as that o f Prodromos-Petra, or else worke d for it. Some o f the other scribes and i l l umi nat ors wi t h whi c h he col l aborated were monks, whi l e others may have been independent craftsmen. Bu t each mi ght at one moment wo r k for an aristocrat and at another for a mo nk or abbot o f an aristocratic monastery. Uni versi t y o f Chicago POSTSCRI PT Since compl et i ng the foregoing, t wo relevant references have come to my attention. The first, not available to me, apparently bears on the fourteenth-century The ok- tistos: G. A. Papademetriu, " C H ' KpdXai va TCOV T p i - aXcov' Kai 6 Koa8LKcr/pdc(x)s teoKTtaros ( 1340) , " Me a- ai wpi Ka Ka i Ne a c E \ \ T ] v i K a l (1984), pp. 419-451. The article is cited i n Byzantinische Zeitschrift 79 (1986), p. 104. The second paper concerns the Lafskal i (or Lapskald) Gospels, mentioned supra, note 54. A. Saminski analyzes this and other Georgian manuscripts i n his i mport ant study, "Masterskaja gruzinskoj i gre- ceskoj kni g i v Konstantinopol e XIInacala XI I I v. , " whi c h is to appear i n Izvestija Akademii Nauk Gruzinskoj SSR i n December 1987. I wi sh to thank Dr. Saminski for sending me his paper and photographs o f the manuscript. A P P E NDI X C O D I C O L O G Y : Parchment. Fol ios 280. 220 X 180 m m ( bot h l e ngt h and wi dt h have been t r i mme d) . 26 l ines i n 1 c o l u mn (160 X 125 mm) . Ruling: Leroy 42C1. 1 1 9 The canon tables, the l i t urgi cal tables, studies that she and her husband are preparing. 114. Anderson (supra, note 31), pp. 83104. For Isaac and the two monasteries see R A. Underwood, The Kariye Djami (New York, 1966), vol . 1, pp. 10-13; and Mouri ki (supra, note 87), pp. 103-106, wi t h further references. 115. See my paper, supra, note 31, and K . Barzos, C H TeveaXo^ta Tcav KOIJLVTJI'WV (Thessaloniki, 1984), vol . 2, pp. 507511. At the end of the Codex Ebnerianus, a sixteenth-century owner recorded the births of five children. See A. Turyn, Dated Greek Manuscripts of the Thirteenth and Fourteenth Centuries in the Libraries of Great Britain (Washington, D.C., 1980), p. 149. 116. Stornajolo (supra, note 73), pi. 83. 117. R Magdalino and R. Nelson, "The Emperor in Byzantine Art of the Twelfth Century," Byzantinische Forschungen 8 (1982), pp. 130-131. and the evangelist portraits are rul ed dif f erentl y to suit their respective designs. A l l o f quire I (fols. 17) shares the same r u l i ng except that f ol i o 1 has l ines added for the Euse- bian letter. C O L L A TI O N : I 8 - 1 (fols. 1-7) ; I P (fols. 8-10) ; I I I - V I 8 (fols. 11-42) ; V I I 9 (fols. 43-51) ; V I I I - I X 8 (fols. 52-67) ; X 9 (fols. 68-76) ; X I - X I I I 8 (fols. 77-100) ; XI V 9 (fols. 101-109); X V - X X X I I I 8 (fols. 110-262); X X X I V 6 (fols. 263-268) ; X X X V 8 (fols. 269-276) ; X X X V I 4 (fols. 277-280) . A few quire signa- tures are visibl e (e.g., fols. 35r, 43r, 93r) i n the l ower inner corner o f the first page o f a quire; the others have been t r i m- me d off. As t radi t i onal , the nu mbe r i ng began w i t h the first page o f Mat t he w' s Gospel , thus excl uding the pr e l i mi nar y matter. One f ol i o o f the canon tables between fol ios 1 and 2 has been removed; an offset o n f ol i o l r indicates that at least one f ol i o is mi ssi ng f r o m the be gi nni ng o f the manuscript; and f ol i o 134 has also been excised. The f our evangelist por- traits are t i pped i n o n separate fol ios. The mi ssi ng f ol i o 134 w i t h the mi ni at ure o f the twel ve apostles was also inserted i nt o the regul ar quire structure and must have been attached either to XV I I 8 (fols. 126-133) or t o XV I I I 8 (fols. 135-142). S C R I P T: Me di u m br o wn i nk for the pri nci pal text; carmine i nk for the margi nal notations and l i t urgi cal marki ngs i n the text; gol d i nk for the numbers o f canon tables, the l ist o f chapters i n Mat t he w, and parts o f other chapter lists. The basic script is a typical t we l f t h-ce nt ury rel igious hand w i t h mi xt ures o f u n- cial and mi nuscul e f orms. Di st i nct i ve to the scribe The o k- tistos are the graceful l y c u r vi ng zeta; the occasional alpha w i t h a l o ng diagonal stroke; frequent epsil on- or al pha-rho l i ga- tures; the large phi ; the occasional mi nuscul e del ta w i t h sweeping t ai l at the top; and the l ong, pr o mi ne nt abbrevia- t i o n marks above words. The l etter o f Eusebius (fols. l rv) and the l i t urgi cal tables (fols. 269r280r) are wr i t t e n by a second scribe. C O N TEN TS : 1 2 0 Fol ios l rv l etter o f Eusebius; 2r7v canon ta- bles; 8r9r l ist o f chapters for Mat t he w; 9v ori gi nal l y bl ank, no w w i t h text by a l ater hand; lOr bl ank; l Ov port rai t o f Ma t - t hew; Ur44v Gospel o f Mat t he w; 44v subscription t o Ma t - t hew; 44v l ist o f chapters to Mar k, incompl ete; 45r bl ank; 45v port rai t o f Mar k; 46r cont i nuat i on o f l ist o f chapters to Mar k; 46v67v Gospel o f Mar k; 67v68v l ist o f chapters t o Luke; 118. On the economic history of the twel fth century see M. Hendy, "Byzantium, 10811204: An Economic Reappraisal," Transac- tions of the Royal Historical Society ser. 5, 20 (1970), pp. 3152. There are important papers on contemporary social history in M. Angol d, ed., The Byzantine Aristocracy IX to XII Centuries, BAR International Series 221 (Oxford, 1984). There, R. Cormack ("Aristocratic Pa- tronage of the Arts in 11th- and 12th-century Byzantium, " pp. 158172) also discusses "aristocratic" art. 119. The system used is that of J. Leroy, Les types de regime des manuscrits grecs (Paris, 1976). 120. Those New Testament prefaces that are listed in H. F. von Soden, Die Schriften des Neuen Testaments, 1,1 (Berlin, 1902) are de- noted by the numbers given there. 78 Nelson 69r bl ank; 69v port rai t o f Luke; 70r105v Gospel o f Luke, but not compl ete o n 105v; 106r ori gi nal l y bl ank, no w the concl u- sion o f Lu ke by a l ater hand; 106v port rai t o f John; 107r o r i g i - nal concl usion o f Lu ke and l ist o f chapters to John; 107v133v Gospel o f John; 133v preface to Acts and, at the bo t t o m o f the page, a l ater l ist o f the apostles that was cont i nued o n the mi ssi ng f ol i o 134r, no w i n the Paul Canel l opoul os col l ection, Athens; 134v ( missing) busts o f the t wel ve apostles; 135r171r Acts o f the Apostl es; 171r preface to Cat hol i c Epistl es; 171 v172r preface to James ( Von Soden no. 134); 172r175v James; 175v preface to I Peter ( Von Soden no. 135); 175v179r I Peter; 179rv preface t o I I Peter ( Von Soden no. 137); 179v-182r I I Peter; 1 8 2r - v preface to I John ( Von Soden no. 137); 182v-186r I John; 186r preface to I I John ( Von Soden no. 137); 186r-186v I I John; 186v-187r preface t o I I I John ( Von Soden no. 138); 1 8 7 r - v I I I John; 187v preface to Jude ( Von Soden no. 139); 187v-188v Jude; 188v-189v preface t o Romans ( Von Soden no. 140); 190r-203r Romans; 203r - v preface to I Cori nt hi ans ( Von Soden no. 140); 203v216r I Cori nt hi ans; 216v217r preface to I I Cori nt hi ans ( Von Soden no. 140); 217r225v I I Cori nt hi ans; 225v preface t o Galatians ( Von Soden no. 140); 226r - 229v Gal atians; 230r preface t o Ephe- sians ( Von Soden no. 140); 230r234v Ephesians; 234v preface t o Phil ippians ( Von Soden no. 140); 234v237v Phil ippians; 237v238r preface t o Col ossians ( Von Soden no. 140); 238r241r Col ossians; 241rv preface to I Thessal onians ( Von Soden no. 140); 241 v244r I Thessal onians; 244rv preface t o I I Thessal onians ( Von Soden no. 140); 244v246r I I Thessal o- nians; 246rv preface t o Hebrews ( Von Soden no. 140); 246v247r preface to Hebrews ( Von Soden no. 141); 247r-257v Hebrews; 257v-258r preface to I Ti mo t hy ( Von Soden no. 141); 258r-261v I Ti mo t hy; 262r-262v preface t o I I Ti mo t hy ( Von Soden no. 141); 262v265r I I Ti mo t hy; 265v266r preface to Ti t us ( Von Soden no. 141); 266r267v Ti t us; 267v preface to Phi l e mo n ( Von Soden no. 141); 267v268v Phi l e mon; 268v col ophon and l ater owne r ent ry o f the Di o nysi o u monastery; 269r274v Synaxari um; 275r280r Ekl ogadi on. D EC O R A TI O N : I l l u mi nat e d canon tables, fol ios 2r7v; portraits o f Mat t he w ( f ol . l Ov) , Ma r k ( f ol . 45v) , Luke ( f ol . 69v) , and John ( f ol . 106v); i l l u mi nat e d headpieces on fol ios l l r , 46v, 70r, 107v, 135r, 190r. P R O VEN A N C E: Di o nysi o u monastery, Mo u nt At hos ( cod. 8), perhaps f r o m the sixteenth century (see vo n Eu w and Pl otzek, p. 160), removed f r o m the monastery around 1960 (see Bucht hal , " Di si ect a Me mbr a" ) ; Oscar Me ye r col l ection, Los Angel es; L u dw i g col l ection; acquired by the J. Paul Get t y M u - seum i n 1983. B I B L I O G R A P H Y : H . Brockhaus, Die Kunst in den Athos-Klstern ( Leipzig, 1891), pp. 183, 211, 231-233, pi . 21; S. P. Lambros, Catalogue of the Greek Manuscripts on Mount Athos ( Cambri dge, 1895), vo l . 1, p. 319; M . Vogel and V. Gardthausen, Die griechischen Schreiber des Mittelalters und der Renaissance ( Hi l de she i m, 1966), p. 143, repri nt ed f r o m Zentralblatt fr Bibliothekswesen, Beihef t 33 ( Leipzig, 1909); C. R. Morey, East Christian Paintings in the Freer Collection ( Washington, D. C. , 1914), pp. 28, 30; J. Bi c k, Die Schreiber der wiener griechischen Handschriften ( Vienna, 1920), p. 66; A. M . Friend, Jr., " The Portraits o f the Evangel ists i n Greek and Lat i n Manuscri pt s, " Art Studies 5 (1927), pp. 125, 133, figs. 9-12; K. Lake and S. Lake, Dated Greek Manuscripts to the Year 1200 ( Bost on, 1935), fasc. 3, no. 116, pis. 197-198; F. Dl ge r , E. Weigand, and A. De i ndl , Mnchsland Athos ( Mu ni c h, 1942), pp. 194-197; E. W. Saunders, A Descriptive Checklist of Selected Manuscripts in the Monasteries of Mount Athos ( Washington, D. C. , 1957), p. 3; K. Al and, Kurzgefasste Liste der griechischen Handschriften des Neuen Testaments ( Be rl i n, 1963), p. 110; M . Richard, Repertoire des bibliotheques et des catalogues de manuscrits grecs: Supplement I (1958-1963) (Paris, 1964), p. 12; V. Lazarev, Storia della pit- tura bizantina ( Turi n, 1967), p. 252; M . Restle, Byzantine Wall Painting in Asia Minor ( Greenwich, Conn. , 1967), vo l . 1, pp. 81, 244; E. D. Kako u l i di , " C H iA.ioTJKT) TTJS | xopf| S n p o p i x o i v e r p a s aTTjv KcovaTavTLVOtm-oXri," Hellenika 21 (1968), p. 19; H . Hunger, "Evangel isten, " Reallexikon zur by- zantinischen Kunst 2 (1968), col . 458; K. Treu, " Byzant i ni sche Kaiser i n den Schreibernotizen griechischer Handschri f t en, " Byzantinische Zeitschrift 65 (1972), p. 17; S. De r Nersessian, " The Praxapostol os o f the Wal ters Ar t Gal l ery, " Gatherings in Honor of Dorothy E. Miner, ed. U. E. Mc Cr ac ke n et al . ( Bal - t i more, 1974), p. 41; J. C. Ande rson, " A n Exami nat i o n o f Two Twe l f t h- Ce nt ur y Centers o f Byzant i ne Manusc ri pt Produc- t i o n" ( Ph. D. diss., Pri ncet on University, 1975), pp. 2, 66-69, 158159; A. vo n Eu w and J. M . Pl otzek, Die Handschriften der Sammlung Ludwig ( Col ogne, 1979), vo l . 1, pp. 159163, figs. 5663; H . Hu nge r and O. Kresten, "Archaisierende Mi nu ske l u nd Hode gonst i l i m 14. Jahrhundert: De r Schreiber The o k- tistos u nd die K p&Xai pa TCOV Tpi aXcop, " JOB 29 (1980), pp. 188-191, 211-212, 214, 217, 220; R. Ne l son, " A Thi r t e e nt h- Ce nt ur y Byzant i ne Mi ni at u r e i n the Vatican Li brary, " Gesta 20 (1981), p. 221; P. Magdal i no and R. Nel son, " The Empe r or i n Byzant i ne Ar t o f the Twe l f t h Cent ury, " Byzantinische For- schungen 8 (1982), pp. 150-151; H . Bucht hal , "Disiecta Me m - bra, " The Burlington Magazine 124 (1982), p. 214, figs. 15-17; H . Bucht hal , " A Greek Ne w Testament Manuscri pt i n the Escorial Li brary: Its Mi ni at ure s and Its Bi ndi ng , " Byzanz und der Westen: Studien zur Kunst des europischen Mittelalters, ed. I . Hu t t e r ( Vienna, 1984), p. 90; I . Spatharakis, " A n I l l u mi nat e d Greek Gr ammar Manuscri pt i n Jerusal em: A Co nt r i bu t i o n t o the Study o f Co mne ni an I l l u mi nat e d Orname nt , " JOB 35 (1985), p. 237. A Celibate Marriage and Franciscan Poverty Reflected in a Neapolitan Trecento Diptych Carl Brandon Strehlke I n 1986 the J. Paul Getty Mu se u m acquired a f our- teenth-century diptych (figs, lac) 1 that came f rom the Sabran, a promi nent Provencal aristocratic f amil y. Rep- resented i n the l eft-hand panel o f the diptych is Saint Francis receiving the stigmata; the right-hand panel portrays an angel suspended i n flight who bestows floral crowns on a man and wo man kneel ing i n a bedcham- ber. Tho u gh the picture's provenance cannot be docu- mented before the t went i et h century, i n modern hagiographical wri t i ngs the t wo kneel ing figures have been identif ied as fourteenth-century members o f the Sabran f ami l y: Saint Elzear de Sabran (12861323) and his wif e, the Blessed Del phi ne de Signe (12841360), courtiers to Ki ng Robert and Queen Sancha o f Napl es. 2 The scene i n the bedroom has been t hought to repre- sent an angel crowni ng the coupl e to honor their fa- mous vo w o f chastity. Because they were probabl y members o f the lay, or tertiary, order o f the Franciscans, the stigmatization o f Saint Francis represented i n the l eft-hand panel also seemed to c onf i rm the diptych' s connection to the Sabrans. However, the episode o f an angelic coronation does not appear i n any extant f our- teenth-century source concerning Elzear and Del phine. I n later biographies, whi c h are perhaps based on no w- lost documents, the onl y simil ar incident is one i n whi ch an angel visits the couple i n their bedchamber and lays his hands on their heads. Notabl y, the couple is described as sleeping, and there is no me nt i on o f floral wreaths. 3 I n addition, the identif ication does not stand on chrono- l ogical grounds. Based upon its style and the costumes o f the couple, whi c h reflect fashions before the mi d- fourteenth century (as w i l l be discussed i n detail l ater), the picture must date considerably before Del phine' s death i n 1360 and Elzear's canonization, declared by his o wn godson, Urban V de Gri moard (r. 13621370), i n 1369. Al t ho u gh Elzear and Del phi ne cannot possibly be the subjects o f the diptych, other convincing i cono- graphic reasons exist for associating i t wi t h them, and there is historical and styl istic evidence for concl uding that i t was commissioned by Del phi ne or someone close Abbreviations Actus: Paul Sabatier, ed., Actus beati Francisci et sociorum eius, Collection d'etudes et de documents no. 4 (Paris, 1902). Bologna: Ferdinando Bologna, / pittori alia corte angioma di Napoli, Saggi e studi di storia dell'arte no. 2 (Rome, 1969). Enquete: Jacques Cambell, ed., Enquete pour le proces de canonisation de Dauphine de Puimichel comtesse dAriano (Turin, 1978). "Trois sermons": Wil l ibord Lampen, ed., "Trois sermons de Fran- cois de Meyronnes sur la stigmatization de Saint Francois," La France franciscaine 10 (1927), pp. 371-397. Vies occitanes: Jacques Cambell, ed., Vies occitanes de Saint Auzias et de Sainte Dauphine, Bibliotheca Pon- tificii Athenei Antoniani no. 12 (Rome, 1978). 1. 86.PB.490. Tempera and tooled gold on wood. Each panel H: 31.2 cm ( 12 5 / i6 ") ; W: 22.9 cm (9"). Exhibited i n Cent tableaux d'art religieux de XIV e siede nos jours, Galerie Charpentier, Paris, 1952-1953, no. 38. 2. The earliest published source for the provenance states that a copy of the diptych exists i n the castle o f Ansouis, ancestral seat of the Sabran. Pierre Girard, Saint Elzear de Sabran et la Bienheureuse Delphine de Signe (Paris, 1912), p. 6. The copy is unknown to me. The identification o f the saints as Delphine and Elzear is followed by Jacques Dupont, "Quelques exemples des rapports entre la France et l'ltalie au XI V e et au XV e siecles," Cahiers de VAssociation interna- tionale des etudes francaises 8 (1956), p. 8, and Michel Laclotte and Dominique Thiebaut, L'ecole dAvignon (Paris, 1983), pp. 194195. The former attributes the diptych to the Sienese school, and the latter call it simply Italian, circa 13401350. Enrico Castelnuovo has identified the saints as Quiricus and Julietta and the artist as from the circle o f Paolo Veneziano, circa 1340; see "Ecole dAvignon, " Art de France 1 (1961), p. 284. 3. Garsende Alphant, Elzear's nurse and the couple's companion, is said to have witnessed this, as was supposedly reported at Elzear's canonization hearings, which took place over forty years after Alphant's death. See Genevieve Duhamelet, Saint Elzear et la Bien- heureuse Delphine (Paris, 1944), p. 17. Alphant's testimony was entered i n the record but was obviously not first hand. See Jacques Cambell, "Le sommaire de l'enquete pour la canonisation de S. Elzear de Sabran," Miscellanea Francescana 73 (1973), p. 445. The first text that describes the couple's angelic coronation is J. Raphael, L'ensuit la vie de monseigneur Saint Aulzias de Sabran comte darian glorieux confesseur et vierge (Paris, circa 1523), first part, chap. 1, unpaginated: "et en regar- dant par alcune petite vuee dedans la chambre du dit sainct Garsende Alphant vit quilz les dormoient encores et aussi ladicte Benoiste Daulphine et vit une ange le quel tenoit chescune teste deux une main. Si en remercia icelle a dieu et l uy en rendait graces car eile cogneut bien que lange avoit specialle cure deulx." 80 Strehlke to her f r o m an artist active i n Naples i n the 1330s. Fr o m the minutes o f the canonization trials o f Elzear and Del phine, hel d i n 1351 and 1363 respectively, and f r o m t wo early paral l el biographies, the story o f a re- markabl e marriage emerges. 4 The Sabran, l ords o f A n - souis (located southeast o f Avi gnon) , were l oyal allies o f the Angevins, a branch o f the French royal f ami l y since the t i me o f the conquest o f southern Italy. The A n - gevins maintained their power base i n Provence, an i n- 4. Elzear's proceedings survive i n a summarium, compiled for the papal archives between 1362 and 1364. See Cambell, "Le sommaire" (supra, note 3), pp. 438473, for its dating. The other sources, Enquete and Vies occitanes, are also edited by Cambell. The probable authors o f the latter's Latin text are Aimar and Guillaume de La Voutre, two brothers from Apt (the burial place o f Elzear and Delphine), who had distinguished and somewhat parallel church careers, both having served as bishops of Marseilles. Soon after its publication i n Latin, Vies occitanes was translated into the Provencal langue d'oc. The most reliable secondary sources are Luke wadding, Annates minorum seu trium ordinum a S. Francisco institutorum, 2nd ed. (Rome, 1733), pp. 278292, 378382, and Constantin Suyskens i n Acta sanc- heritance o f the mother o f Charl es I I o f Anj ou, Ki ng o f Naples. Hence, Provencal famil ies, l i ke the Sabran, f i l l ed positions at the Neapol itan court, sat o n the bench, and staffed the mi l i t ary. I n reward for mi l i t ar y service, Charles I I created El zears father, Hermengaud, Co u nt o f Ari ano, a titl e Elzear received i n 1310, after his father's death, f r o m Ki ng Robert, Charl es' successor. Elzear served the Angevins we l l . He successfully l ed their troops i n defense o f Rome, then under seige torum Septembris 7 (Antwerp, 1760), rev. ed. (Paris, 1867), pp. 494-555. 5. For additional information on the Angevins, see Emil e G. Leonard, Les Angevins de Naples (Paris, 1954); Romolo Caggese, Roberto dAngid e i suoi tempi (Florence, 1922, 1930), 2 vols.; and the appropriate entires i n Dizionario biografico degli italiani (Rome, I960), 1 vol . to date. For Sabrn genealogy, see [Francois A. A. ] de La Chesnaye- Desbois and [?] Badier, Dictionnaire de la noblesse, 3rd ed. (Paris, 1873), vol . 18, cols. 4-23. 6. Andre Vauchez, La saintete en Occident aux derniers siecles du moyen age d'apres les proces de canonisation et les documents hagiogra- phiques, Bibliotheque des ecoles franchises dAthenes et de Rome no. 241 (Rome, 1981), p. 419, no. 397. Figure la. Neapolitan school. The Stigmatization of Saint Francis of Assisi and The Crowning of Saints Cecilia and Valerian of Rome, 1330s. Tempera and tooled gold on wood. Each panelH: 31.2 cm ( 12 5 / i6") ; W: 22.9 cm (9"). Mal ibu, The J. Paul Getty Museum 86.PB.490. A Celibate Marriage 81 by the German emperor, Henr y VI I ; he acted as a mi n - ister to Ki n g Robert's heir, the Duke o f Calabria; and he arranged the latter's betrothal to a French pr i n- cess. Whi l e on this last mi ssi on i n Paris, he di ed on Sep- tember 27, 1323. 5 The marriage o f Elzear and Delphi ne was arranged and mandated by Charles I I . The king's concern for his vas- sal's family clearly lent dynastic implications to the union. Despite this, Delphi ne, a headstrong twelve-year-old orphan, objected to the proposed marriage because she had sworn a vo w o f vi r gi ni t y. On l y after the Franciscan mo nk Gui llaume de Sai nt-Marti ala compani on o f the recently deceased Loui s o f Toulouse, Ki n g Charles' sonconvinced her o f the propri et y o f obeyi ng the ki ng di d Delphi ne concede. Fol l owi ng a three-year be- trothal, she was marri ed to Elzear i n February o f 1300. She di d not, however, at any t i me renounce her vow. Elzear was a deeply reli gi ous yout h, kno wn to be susceptible to mysti c trances, but he was apparently not prepared for a chaste marri age. 6 Dur i ng the first nights o f thei r life together, Delphi ne, empl oyi ng the gui le o f a Scheherazade, delayed consummat i on by regaling her husband wi t h stories o f vi r gi n saints unt i l he nodded o f f to sleep. Accor di ng to bi ographi cal sources, she recounted the legends o f Ceci li a and Valerian, Alexi s, Catherine o f Alexandri a, Agnes, Lucy, and Agat ha. 7 Al t hough all were vi rgi ns, onl y the first three listed preserved this state wi t hi n a marriage. Elzear and Delphine's o wn si tuati on most closely paralleled that o f Ceci li a and Valerian. Cecilia, li ke Delphi ne, had converted her husband to chastity, and they remai ned together despite thei r vow. ( By contrast, Alexi s on his weddi ng ni ght i nspi red his young wi fe wi t h a "love o f vi r gi ni t y, " but after deli veri ng a lecture on its vi r - tues, he abandoned her.) 8 I n vi ew o f what Elzear and Delphi ne wo ul d suffer for thei r devot i on to celibacy, i t is understandable that the spi ri tual bond uni t i ng Ceci - li a and Valerian wo ul d come to have a special sym- boli c i mpor t for t hem and serve as a model for thei r o wn marriage. Lent, when abstension was an acceptable practice, oc- 7. Vies occitanes, pp. 147149. 8. Baudoin de Geffier, " 'Intactam sponsam relinquens' propos de la vie de S. Alexis," Analecta Bollandiana 65 (1947), pp. 157197. 9. On the legal foundations, see Gabriel le Bras, "Le marriage dans la theologie et le droit de l'eglise du XI e au XI I I e siecle," Cahiers de civilisation medievale X e -XII e siecles 9 (1968), pp. 191-202, and Vauchez (supra, note 6), p. 498, for bibliography and sources on vi r - ginal marriages. On impotence as grounds for divorce, see Bernard David, L'impuissance est-elle un empechement de droit naturel ou positi, Analecta Gregoriana no. 220 (Rome, 1981), and Pierre Darmi on, Le tribunal de l'impuissance virilite et defaillances conjugates dans Vancienne France (Paris, 1979), pp. 78-81, 89-93, 106-161. curred shortly after the Sabran weddi ng. Fol l owi ng this, Delphi ne suddenly fell i l l and extracted a promi se o f t wo years continence fr om Elzear. By the close o f this peri od, the young gr oom had experienced di vi ne en- li ghtenment, and carnal temptati ons never again plagued hi m. Fearing fami l y opposi ti on, the couple kept thei r vow secret, but as t i me passed, the lack o f issue exposed t hem to ri di cule. Thought s o f an hei r had i ni t i al l y troubled Elzear, but he nevertheless acceded to Delphine's wishes. Hi s grandfather, however, demanded that a doctor examine t hem. Though the sources are scant, a separation may have been contemplated. Canoni cal law decreed that a divorce required pr oof o f the i mpotence o f one o f the partners. I n such situations, Pope Innocent I I I (r. 11981216) had legislated that matrons examine the woman to determine physical capability for intercourse. 9 A male doctor was, nonetheless, summoned to this case; the diagnosis was made public; and the process resembled a t ri al. The Catalan Ar nal d o f Vi llanova, physician to the ki ng o f Ar agon, served as medical examiner, and he could not have been more understandi ng o f the young couple's pl i ght . 1 0 A radical Franciscan gi ven to prophet- i sm and close to the Spi ri tual Franciscan partya sepa- ratist group that felt that the order had strayed fr om Saint Francis' i dealsArnald escaped bur ni ng at the stake for unrecanted heretical wr i t i ngs onl y because o f shrewd poli t i cal maneuveri ng and the acknowledged value o f his medical skills. Hi s influence on Elzear and Delphi ne was considerable and has been cited as an ex- planati on for thei r subsequent religious leanings. 1 1 The biographers make clear that bei ng secretly i nfor med o f thei r vow, Ar nal d faked the inquest i nt o thei r mari t al habits. 1 2 Havi ng prescribed a curative meat diet, he i n - terrogated t hem publi cally on thei r sleeping habits but pri vately spoke to t hem onl y o f reli gi ous matters. 1 3 Af - ter fifteen days o f scrutiny, he presented the results to a physicians' gathering wi t h such ski l l that no one con- tradicted hi m. He contended that the couple was physically underdeveloped and could not conceive chi l - 10. Raoul Manselli, Spirituali e beghini in Provenza, Studi storici nos. 3134 (Rome, 1959), pp. 5580, wi t h earlier bibliography cited. 11. See Carles Campos, " A perpaus de la perfection dAlzeas et de Delfina, " Annales de l'institut d'etudes occitanes 4, no. 1 (1965), pp. 88-105. 12. Vies occitanes, pp. 161163. 13. He may also have recommended crayfish, pinecones, chestnuts, nasturtiums, truffles, and onions, all of which encourage coitus, and advised against lettuce and citrus-based wines, whi ch discourage it, according to the Taciunum sanitatis, a health manual i n circulation i n the late Mi ddle Ages. Luisa Cogliati Arano, The Medieval Health Handbook (New York, 1976). 82 Strehlke Figure lb. The Stigmatization of Saint Francis of Assisi (detai l o f fi g. l a) . A Celibate Marriage 83 Figure lc. The Crowning of Saints Cecilia and Valerian of Rome (detai l o f fi g. l a) . 84 Strehlke dreri unt i l thei r t went y-fi ft h year. Havi ng established that the condi t i on was t emporary (canonical law re- qui red that i mpotence be proven perpetual), Ar nal d cleverly avoided establishing grounds for divorce. Di sappoi nted, Elzear's fami l y resorted to other means, such as sending entertai ni ng young girls i nt o the couple's bedr oom at ni ght to encourage conjugal relations. 1 4 I n 1307 Elzear and Delphi ne fi nally liberated themselves fr om this pressure, r et i r i ng to a castle at Puy-Mi chel , a paternal inheritance o f Delphi ne. They ran thei r household along the lines o f a monastery. Elzear, who functi oned more li ke an abbot than a grand seigneur, wr ot e a rule, the first provi so o f whi ch en- forced the strictest observance o f chastity by all i nhabi - tants o f the castle; furthermore, wi t h the exception o f Delphi ne, all mar r i ed women were excluded. 1 5 Thi s life cont i nued unt i l Elzear's father di ed i n 1310, and Elzear went to Naples t o be kni ght ed. The vo w o f chastity di d not decrease the couple's closeness and devot i on to each other. They seem to have shared quarters and possibly a c ommon bed. 1 6 Ac - cordi ng to all witnesses, Del phi ne went to bed dressed and Elzear slept i n a hai r garment except when gravely i l l ; this was considered unusual, as sleeping naked was the n o r m at the t i me. 1 7 Four years after Elzear's death i n 1323, a Libellus sup- plex, penned by the Provencal Franciscan mo nk Franqois de Meyronnes, was presented to Pope John XXI I d'Euse (r. 13161334) to pr omot e the cause o f his sanc- t i t y. 1 8 The Libellus attaches great i mportance to the celi - bate marriage; i n i t Elzear is called another Joseph, Val - erian, or Al exi s. 1 9 The analogy o f the Sabran marriage to that o f Ceci li a and Valerian apparently ori gi nated wi t h the stories that Delphi ne t ol d on her weddi ng ni ght , but the t r adi t i on was kept wel l enough alive dur - i ng her l ong wi do who o d to be repeated i n the proposed articles for her o wn unsuccessful canoni zati on, whi c h were prepared i n 1363. 20 Delphi ne and Elzear must therefore have closely associated thei r early days t o- gether wi t h the story o f the ancient Roman newl y weds who had si mi l ar l y cherished thei r vi r gi ni t y and were persecuted for thei r Chri st i an beliefs. Si gni fi cantly i n this context, alt hough the ri ght -hand panel o f the Get t y di pt ych does not relate to any specific 14. Vies occitanes, p. 163. 15. Ibid., p. 77. 16. The evidence is conflicting. Article eleven of Delphine's hear- i ng says that they shared (cohabitant) quarters and bed. Article fourteen says that they lived together but did not sleep i n the same bed. See Enquete, pp. 3738, 40, and Vies occitanes, p. 159. 17. Vies occitanes, p. 83. Only a nightcap was customarily worn. For example, see the sculpture of the father of Saint Catherine of Alex- i nci dent i n the lives o f Elzear and Delphi ne and is chronologi cally impossible to associate wi t h t hem, i t clearly follows the tradi ti onal representation o f an epi - sode fr om the lives o f Saints Ceci li a and Valerian. Thi s is related i n The Golden Legend, a late t hi rt eent h-cent ury text by Jacopo da Voragi ne. 2 1 On her weddi ng day Ceci li a wor e a hair shi rt concealed by a splendid gold garment. Before the ceremony, she had entrusted her mai denhood to God and that ni ght i nfor med her star- tled gr oom that an angel, who guarded her body wi t h "exceeding zeal," was her lover. The pagan Valerian was also t ol d that he could meet this ri val i f he agreed to bapti sm. As his bri de instructed, he i mmedi at ely sought out the persecuted bishop o f Rome, Ur ban I (r. 222230), who was then hi di ng fr om the i mper i al au- thorities, and he received bapti sm. Ret ur ni ng to the marriage chamber, he witnessed Ceci li a and the angel i n discourse, and "the angel held t wo crowns fashioned o f roses and lilies, o f whi ch he gave one to Ceci li a and the other to Valerian, saying: Guard these crowns wi t h spotless hearts and pure bodies, because I have brought t hem fr om God's Paradise to you, nor wi l l they ever fade; and none can see t hem, save those who love chasti ty!" 2 2 The ori gi ns o f the composi t i on o f Ceci li a and Val - erian i n the Get t y pictureas wel l as most other four- teenth- and fi fteenth-century representations o f this rare subjectcan be traced at least to the late eleventh century. 2 3 Images predati ng the Get t y di pt ych tend to be more i coni c and show the angel standing between the couple who may be represented either standing or si tti ng. The scene was frequently conflated wi t h a sub- sequent episode, the cr owni ng o f Valerian's brother, Ti buri us, also a convert. These images probably or i gi - nated wi t h the design o f a lost clot h altar frontal com- mi ssi oned by Paschal I (r. 817821) for the church o f Santa Ceci li a i n Trastevere, where the saint's relics were transferred i n 821. Versions o f the scene occur at least t wi ce i n t hi rt eent h-cent ury seals o f the church's t i t ular cardinals, where Valerian and his brother are shown flanking Ceci li a whi l e an angel swoops do wn cr owni ng the brothers. 2 4 The di vi ng angel was adopted by Ar - nolfo di Cambi o i n his ci bor i um for San Paolo fuori le mura and reappears transformed i n the Get t y di pt ych. 2 5 andria dictating his wi l l by Giovanni and Pacio da Firenze i n Santa Chiara, Naples, illustrated i n John Pope-Hennessy, Italian Gothic Sculpture (London, 1972), pi. 37. 18. It was prepared by Meyronnes and presented to the pope by Raymond Bot, Bishop of Apt. See text i n Acta sanctorum (supra, note 4), pp. 521-525. 19. Ibid., p. 522. 20. Enquete, p. 36. A Celibate Marriage 85 tfflftun nolo lQQ\tom<m Figure 2. School o f Jean Pucelle. The Crowning of Saints Cecilia and Valerian of Rome (detail) f r o m the Br evi ar y o f Jeanne d' Evr eux, circa 1340. I l l umi nat i o n on vel l um. Chant i l l y, Musee Conde ms. 51, fol . 491v. Phot o: Court esy Conway Li brary, Cour t aul d Inst i t ut e o f Ar t , negative 299/ 39 ( 30A) . Figure 3. Mast er o f the Pesaro Cr uci fi x (Itali an, active late fourt eent h and early fi fteenth cent ury) . The Crowning of Saints Cecilia and Valerian of Rome, circa 14251430. Tempera on wo o d. H: 55.3 c m (21 3 A"); W: 36.5 c m ( 14W) . Phi la- delphi a, Phi ladelphi a Mus eum o f Ar t , The Mc l l henny Col l ect i on: Bequest o f John D. Mcl l henny, 43-40-51. Phot o: Court esy Phi l a- delphi a Mus eum o f Ar t . Similar treatments o f the angelic coronation o f Cecilia and Valerian occur i n fourteenth-century French devo- t i onal manuscripts fr om the circle o f Jean Pucelle and i n others that are associated wi t h the royal fami ly, specifi- cally the Brevi ary o f Jeanne d' Evreux, queen o f Charles I V (fig. 2), and the Hour s o f Blanche o f Savoy. 26 The presence o f this subject i n such books demonstrates an interest i n the domestic aspects o f the legend o f the Roman couple, as opposed to the more dramatic and frequently depicted scenes o f mar t yr dom. Elzear and Delphi ne may wel l have influenced French aristocratic taste for this episode. The si mi lari ti es to early fi fteenth- 21. Granger Ryan and Helmut Ripperger, trans., The Golden Legend of Jacobus da Voragine (New York, 1941), pp. 690-691. 22. Ibid., p. 691. 23. On the iconography, see Wolfgang Braunfels, ed., Lexikon der christlichen Ikonographie (Freiburg, 1973), vol. 5, cols. 445463. 24. Julian Gardner, "Some Cardinals' Seals of the Thirteenth Century," Journal of the Warburg and Courtauld Institutes 38 (1975), pp. 85-86, pi. 11 g-h. 25. Ibi d.; illustrated i n Adolfo Venturi, Storia dell'arte italiana (Milan, 1906), vol. 4, fig. 62. 26. Breviary of Jeanne d'Evreux: Chantilly, Musee Conde ms. 51, fol. 49lv. See Jacques Meugey, Les principaux manuscrits peinture du Musee Conde Chantilly (Paris, 1930), pp. 4042; photo: Courtauld negative 299/39 (30A). Hours of Blanche of Savoy: New Haven, Yale University Libraries ms. 390, fol. 18v. See P. Blanchard, Les heures de Savoie (London, 1910), pi . 36. 86 Strehlke century representationsa fresco i n the Car mi ne i n Florence and a panel by the Master o f the Pesaro Cr u- ci fi x i n the Phi ladelphi a Museum o f Ar t (fig. 3)attest to the dur abi li t y o f the iconographic formula over t i me and geography as wel l as to the pauci ty o f possible ways o f pai nt i ng the scene as i t is narrated i n The Golden Legend. 27 On l y rarely di d an artist approach the theme wi t h the or i gi nal i t y o f the Master o f Santa Ceci li a. I n his altarpiece dat i ng before 1307, now i n the Uf f i zi , the angel crowns Valerian as he crosses the threshold o f the bedr oom to receive Cecilia's joyous embrace. 2 8 The strong parallel that was perceived between the marriage o f Ceci li a and Valerian and that o f Elzear and Del phi ne is not the sole l i nk uni t i ng the celibate Provencal couple wi t h the Get t y di pt ych. The sti gma- t i zat i on o f Saint Francis on the left-hand panel and its manner o f depi cti on also support such an association. Tho ugh the earliest extant sources are silent, i t is often stated that Elzear and Delphi ne were members o f the Thi r d Order o f Saint Francis, as was Ki n g Robert o f Naples, who wears its habit i n funeral effi gy. 2 9 On July 13, 1317, Elzear wr ot e his wi l l and specifically stated that he was to be buri ed i n the Franciscan habi t . 3 0 Mor e- over, Franciscans were the couple's confessors and com- panions, as wel l as the champions o f thei r canonization. The order soon clai med Elzear as its own; i n the church o f San Francesco i n Lo di there is a late fourteenth-cen- t ur y fresco o f h i m i n the tuni c o f the Thi r d Order. 3 1 Bei ng i nt i mat e members o f the Neapoli tan court, the Sabrans undoubt edly shared the ki ng and queen's sym- pathy for the Spi ri tual Franciscans. Thi s group, whi ch flourished i n Provence and Naples, espoused the doc- tri ne o f evangelical poverty, or adherence to what they perceived as the unmedi ated ideals o f Francis and Chr i st . 3 2 Fractious and uncompr omi si ng, the Spirituals alienated the church hierarchy and the rest o f the or- der, whi c h they accused o f laxi ty. Playi ng on the age's propheti c mode o f t hi nki ng, they heightened thei r sense o f mi ssi on i n a wo r l d awai ti ng the Second Co m- i ng. By forci ng the issue o f Franciscan poverty, ho w- ever, they i nvi t ed vi olent reactions ai med at thei r o wn destructi on. The Angevi ns' support o f the Spirituals ori gi nated 27. For the attribution of the Philadelphia panel, see the oral com- munication of Mi kl s Boskovits i n Mi chel Laclotte and Elisabeth Mognetti , AvignonMusee du Petit Palais: Peinture italienne (Paris, 1976), no. 132. For the Carmine fresco, see George Kaftal, Iconography of the Saints in Tuscan Painting (Florence, 1952), fig. 287. 28. For the Master of Santa Cecilia, see Bernard Berenson, Italian Pictures of the Renaissance: Florentine School (London, 1963), vol. 1, fig. 88. 29. For Robert's effigy, see Pope-Hennessy (supra, note 17), fig. 32. On the Sabran as tertiaries, see Girard (supra, note 2), pp. 6164. 30. See Vies occitanes, p. 33, and Forbin d'Oppede, La Bse Delphine wi t h Robert's brother Loui s. 3 3 Whi l e incarcerated i n Ar agon as hostages for thei r father's freedom, the t wo brothers solicited consolati on fr om the radical Spi ri tual Peter Ol i v i , whose wr i t i ngs had been condemned as heretical. I t was dur i ng his stay i n pri son that Loui s decided to renounce his r i ght to the throne and j o i n the Franciscans. Though he was later named bishop o f Toulouse, he onl y begrudgi ngly accepted official hon- ors, and his devot i on to the ideal o f evangelical poverty was no secret. Hi s canoni zati on was celebrated on Apr i l 7, 1317, by John XXI I , but this occurred onl y after the pope had suppressed any ment i on o f Loui s' sympathy for poverty and, therefore, for the Spirituals i n the bul l . To underscore this poi nt , a few mont hs later, John pr o- mulgated three bulls condemni ng the Spirituals o f Provence and launched an i nqui si t i on that i n 1318 culmi nat ed i n the bur ni ng o f four monks at the stake i n Marseilles. The condemned had refused to abjure paupertas evangelica. Bur ni ngs and papal post uri ng di d not deter Ki n g Robert. He succored Spi ri tual refugees and even wr ot e a tract i n support o f thei r vi ews on poverty. Aft er the issue o f the bul l Cum inter nonnullos (1323), whi ch de- clared i t heretical to assert that Chri st and his apostles owned no property, Robert repudiated the pope and suppressed publi cat i on o f papal edicts against the Spir- ituals. Queen Sancha and her brother Phi l i p o f Majorca also cont ri but ed to the Angevi n court's i nflammat or y stance. Al t hough the queen burdened the treasury wi t h the fi nanci ng o f Spi ri tual Franciscan communi t i es, she was admoni shed by John XXI I for t heologi zi ng about holy poverty. 3 4 Her brother, meanwhi le, attempted to establish his o wn order and publi cally preached against the pope i n Naples. 3 5 Aft er John's death, Pope Bene- dict XI I (r. 13341342) also t ri ed to br i ng the Angevi ns back i n li ne. I n 1316 at the start o f the controversies, Robert granted Elzear and Delphi ne permi ssi on to leave Naples for Ansoui s i n order to avow thei r celibacy publi cally (apparently this was also an unfulfi lled desire o f Queen Sancha). 3 6 Wi t h great rejoicing, the Sabrans celebrated thei r chastity on the feast day o f Mar y Magdalene, pa- t r on saint o f Provence. Bet ween that t i me and July 1317, de Sabran et les saints de Provence au XIV 6 siede (Paris, 1883), pp. 412425. On entry into the order, tertiaries were required to wri te their final wi l l . 31. George Kaftal and Fabio Bisogni, Iconography of the Saints in the Painting of North West Italy (Florence, 1985), fig. 354. 32. Literature on the Spirituals is vast. A clear summary of the issues is found i n Michael Bi hl, "Fraticelli," The Catholic Encyclopedia (New York), vol. 6, pp. 244249. Also useful are: Decima L. Douie, The Nature and Effect of the Heresy of the Fraticelli (Manchester, 1932); Malcolm D. Lambert, Franciscan Poverty: The Doctrine of the Absolute A Celibate Marriage 87 when Elzear notari zed his wi l l at Toul on before again embar ki ng for Naples, the couple probably entered the Thi r d Order. I f he was not already a tertiary, i t is un- l i kel y that Elzear wo ul d have requested buri al i n Fran- ciscan habit. Thei r membershi p therefore coi nci ded wi t h thei r publi c avowal o f vi r gi ni t y. It is certainly significant that the t wo themes are also l i nked i n the di pt ych. Delphi ne and Elzear j oi ned the order dur i ng its most troubled peri od. The decision could not have been un- affected by Loui s' canoni zati on i n 1317; thei r o wn publi c vow; and the intensified persecution o f the Spirituals i n Provence. I n the papal condemnat i on called Sancta romana, much o f the Thi r d Order o f Provence was i n - di ct ed. 3 7 Many members, some loosely organized i n groups called Beguines, were suspected o f heresy and collusi on wi t h the Spirituals. Trials abounded and many perished at the stake. The couple were i nti mates o f the secular authorities who supported the Spi ri tual cause, and thei r associates i n the religious wo r l d were all fierce Spi ri t ualsArnald o f Vi llanova, Gui llaume de Saint- Mar t i al , and Frangois de Meyronnes. It is, i n fact, hi ghl y probable that John XXI I put o f f Elzear's canon- i zati on because he was so closely associated wi t h the Spi ri tual movement. I f there is any doubt where thei r sympathies lay dur - i ng Elzear's li feti me, there can be none that Delphi ne became a radical Begui ne i n wi do who o d. 3 8 She is even called such i n her first biographies. To the family's con- sternation she obtained permi ssi on fr om Ki n g Robert to divest herself o f all property r i ght ful l y hers. An d i n 1333 at the Angevi n castle o f Castellemare, she t ook another publi c vow, this t i me o f poverty. 3 9 I n 1340 she li qui dated her estates i n Provence. She passed most o f her l ong wi do who o d i n Provence, except for a br i ef peri od after Robert's death i n 1343, when she j oi ned Sancha i n the convent o f Santa Croce i n Naples, a Spi r- i tual house founded by the queen. The st i gmat i zat i on o f Saint Francis i n the Get t y di p- tych corresponds to a type favored i n Neapoli tan Spi r- i tual Franciscan circles and includes several iconographic i nnovati ons that ori gi nated i n that mi l i eu. It is closely related to the most radical o f all Neapoli tan pai nti ngs o f don, 1961); Manselli (supra, note 10); John R. H. Moorhead, A History of the Franciscan Order from Its Origins to the Year 1517 (Oxford, 1968), pp. 188-204, 307-338. 33. Edith Psztor, Per la storia di San Luodovico dAngio (1274-1297), Studi storici no. 10 (Rome, 1955); Ferdinando Bologna, "Povert e umilit: II San Ludovico di Simone Mar t i ni , " Studi storici 10, no. 2 (1969), pp. 231-259, and Bologna, pp. 157-170. 34. Caggese (supra, note 5), pp. 641-642, 651-652. 35. On Philip, see J. M. Vidal, " Un ascete du sang royal: Phi - lippe de Majorque, " Revue des questions historiques n.s. 44 (1910), Figure 4. Mast er o f the Franciscan Temperas (Itali an, active circa 13301355). The Stigmatization of Saint Francis of Assisi, before 1336. Tempera on canvas. Pri vate collect i on. Phot o: Court esy Ug o Bozzi Edi t or e s.a.s., Rome. the sti gmati zati on, part o f a cycle o f canvases l i kel y made for the Franciscan monastery o f Santa Chiara be- fore 1336 as a royal commi ssi on fr om an artist who is called the Master o f the Franciscan Temperas (fig. 4) . 4 0 The Spi ri tual Franciscan i mpr i nt i n the Master o f the Franciscan Temperas' pai nt i ng is apparent i n Francis' beard, his poor patched habit, and the detailed represen- t at i on o f nature. Bellosi has argued that the saint rarely appears bearded i n Italian art after 1296 except i n Spir- itual-infested Naples or i n commissions that are associ- ated wi t h the Angevi ns, such as Simone Mar t i ni ' s cha- pel at Assi si . 4 1 Hi s observations are less vali d for the 1330s when the bearded Francis returns elsewhere (as beards themselves come back i n style) and is not l i mi t ed to Spi ri tual contexts. Nonetheless, i n Neapoli tan pai nt- i ng, the beard remained a symbol o f the Spirituals, who zealously conserved thei r i dent i t y by means o f thei r ap- pearance, especially thei r dress. Controversies about the pp. 361-403. 36. Vies occitanes, pp. 171173, and Enquete, p. 40. On Sancha's celi- bacy, see Caggese (supra, note 5). 37. Moorhead (supra, note 32), pp. 417428, and Manselli (supra, note 10), pp. 113-254. 38. Vies occitanes, p. 197; Enquete, pp. 327, 395. 39. Vies occitanes, pp. 9799; Enquete, pp. 4546. 40. Bologna, pp. 235-245, pi. XVI I I (color). 41. Luciano Bellosi, "La barba di San Francesconuove proposte per i l 'problema di Assisi'," Prospettiva 22 (1980), pp. 1134, and idem, 88 Strehlke Spirituals' ragged habits raged t hr oughout this peri od. As Bologna has noted i n the context o f the Master o f the Franciscan Temperas, i n 1336 Benedict XI I ordered Robert to evict errant Franciscans fr om Santa Chi ara who st i l l wor e "short habits wi t hout f or m or precise color." 4 2 The Master o f the Franciscan Temperas is the onl y artist I kno w o f who pai nted Francis i n t r ul y heret- ical dress. I n other Neapoli tan depictions i nspi red by the Spirituals, i ncl udi ng the same artist's altarpiece i n Ottana (Sardinia), Francis' habit conforms to the regulations o f the order and the long-established visual t r adi t i on. 4 3 Francis is bearded i n the Get t y picture, but his dress does not part fr om the no r m except i n t wo particulars, the undergarment that appears beneath his habit and his sandals. The former is clearly visible at the sleeves and i n the tear on the saint's r i ght side. Tho ugh not i n art, i n Franciscan literature the saint's undergarments fi gure pr omi nent ly. I n Francis' Testamentum, a document sup- pressed by the church but cherished by the Spirituals as the saint's manifesto o f poverty, the first friars are de- scribed as weari ng habits consisting o f a single patched t uni c wi t h a cord and a trouserli ke undergarment, or bracis 44 The undergarment is ment i oned several ti mes i n accounts o f the st i gmat i zat i on and the events leading up to i t . Accor di ng to the Actus beati Francisci et sociorum eius (hereafter, Actus), an early fourteenth-century Spir- i t ual text, whi l e fasting and medi t at i ng on Mo un t A l - verna, Francis i n ecstasy saw God, who spoke to h i m as he had to Moses. Francis replied " I am all yours. . . . You kno w that I possess not hi ng but the habit, the cord, and the undergarment and even these three thi ngs are yours." 4 5 I n the Legenda maior, the saint's offi ci al bi ogra- phy, Bonaventure describes a change i n Francis' under- wear after the sti gmati zati on. I n order to conceal the pai nful wo und i n his side Francis wore undergarments that reached up to his armpi ts; these garments were La pecora di Giotto (Turin, 1985), pp. 314, 3233, n. 17, for an answer to his critics. See Bologna's and Stubblebine's reservations about Bel- losi's theories: Ferdinando Bologna, "The Crowni ng Disc of a Due- cento ' Crucifixion and Other Points Relevant to Duccio's Relation- ship to Cimabue," Burlington Magazine 125 (1983), pp. 330340, and James H. Stubblebine, Assisi and the Rise of Vernacular Art (New York, 1985), pp. 6970. Francis is bearded i n Taddeo Gaddi's work of the late 1320s and 1330s; Andrew Landis, Taddeo Gaddi Critical Reappraisal and Catalogue Raisonne (Columbus, Oh., and London, 1972), figs. 31, 4j _ l , 6c/3-13. 42. Bologna, p. 237. 43. Ibid., pis. V/ 10-2, VI/18, VI/ 68-70. 44. "Tunica una, intus et foris repeciata, cum cingulo et bracis." See Kajetan Esser, ed., Die Opuscula des Hl Franzikus von Assisi: Neue textkritische Edition (Grottaferrata, 1976), pp. 439-440. 45. "Domi ne, ego sum totus tuus, et ni hi l habeo nisi tunicam et cordam et femoralia, et ista tua similer sunt." Actus, chap. 9, pp. 57-58. called femoralia by Bonaventure. 4 6 Tho ugh this under- garment was put on after the miracle, i n the di pt ych the artist anticipates the change fr om the si mple bracis to the femoralia that was necessitated by the stigmata. A l l sources ment i on that bl ood cont i nually stained Francis' habit and femoralia, and t hough he never showed his wounds, the friars who washed his bloodi ed clothes suspected what had transpi red. 4 7 The underwear then is li terally a pr o o f o f the sti gmati zati on. The sandals can also be explained i n terms o f what happened after the sti gmati zati on. When Francis first converted, he cast o f f his shoes and went barefoot. 4 8 Therefore, i t wo ul d i ni t i al l y seem a gross mi sunder- standing o f Franciscan i conography to show the lover o f poverty i n the central poi nt o f his mi ssi on weari ng san- dals. But they also bear witness to the miracle. Aft er receiving the wounds, Francis never uncovered his hands and feet, and the intense pai n prevented h i m fr om setti ng his feet di rectly on the gr ound. The first biographer, Celano, describes the coveri ng as wool en socks wi t h a piece o f ski n placed di rectly over the wounds to ease the wool' s roughness. 4 9 Bonaventure si mply says his feet were calceatis, or covered. 5 0 A r el i - quary i n Assisi conserves this gear. The sandals are therefore also meant to r emi nd the vi ewer o f the suffer- i ng Francis endured for the gi ft o f the stigmata. The attenti on to odd details such as underwear and sandals i mpli es that the picture's i conography depended on a close rereading o f the available sources. I n the late t hi rt eent h and early fourteenth century the Spirituals were actively reevaluating texts o f Francis' life. Aft er Bonaventure's offi ci al bi ography was finished i n 1266, all earlier versions were supposed to have been de- stroyed; many, however, st i l l circulated, and these ear- lier, often eyewitness, accounts, i ncl udi ng the wor ks o f Celano, were cherished and reused i n several new an- thologies, all o f whi ch displayed overtly Spiritualist 46. "Proinde portabat ex tunc femoralia ita factam usque ad as- cellae pertingerent ad vulnus lateris contegendum." Bonaventure, Legenda maior 5. Francisci assisiensis et eiusdem legenda minor (Quaracchi, 1941), chap. 8, p. 8. On the word femoralia, see Octavianus a Rieden, "De Sancti Francisci Assisiensis stigmatum susceptione: Disquistio historico-critica luce testimoniorum saeculi XI I I , " Collectana Fran- ciscana 34 (1964), pp. 259-260, n. 68. 47. "Fratres quoque, qui ilia lavabant vel tunicam excutiebant pro tempore, quia inveniebant ea sanguine rubricata indubitanter per evi- dens signum incognitionem sacri vulneris pervenerunt." Bonaventure, Legenda maior (supra, note 46), chap. 8, p. 8; and for other testimony, see Octavianus a Rieden (supra, note 46), pp. 259262. 48. "Solvit protinus calceamenta de pedibus [Actus, chap. 7, p. 33] baculum deponit e manibus et, tunica una contentus, pro corrigia funiculum immutavit." Thomas de Celano, Vita prima S. Francisci Assisiensis et eiusdem legenda ad usum chori (Quaracchi, 1926), chap. 9, p. 22. The stigmatization i n Giuliano da Rimini's altarpiece, dated 1307, i n A Celibate Marriage 89 leanings. 5 1 They fulfi lled a need for a narrative and an- ecdotal renderi ng o f his life i n contrast to Bonaventure's majestic but sparsely detailed vi si on; thus, they func- t i oned much i n the same way that the Apocr ypha and The Golden Legend di d for the lives o f Chri st and Mar y. The most i mpor t ant o f these anthologies was the Actus. Compi l ed fr om several sources at different times, i t was defi ni t i vely put together circa 13271340, probably by the Mar chi gi an Spi ri tual Franciscan Ugo l i no di Mo n - tegiorgio, who is kno wn to have been i n Naples i n 1331. 5 2 The text was a popular success, and t oward the end o f the century i t was rearranged and translated i nt o Italian as I fioretti and Le considerazioni delle sacre stim- ulate. The Actus gives a detailed descri pti on o f Francis' forty-day fast on Alverna. It adds episodes, such as God speaking to Francis fr om a bur ni ng bush as he had done to Moses, and conflates incidents that were separated i n earlier works. The Actus pays particular attenti on to Francis' affi ni t y wi t h nature, and t hough hardly an or i gi nal concept, i t is a vi si on o f the saint that the Spirituals wi shed to appro- priate for themselves. For instance, the wo l f o f Gubbi o first appears i n the Actus, and the curious beast i n the Getty painting' s foreground, most l i kel y a wolf, could wel l refer to this i nci dent or one o f the other wo l f sto- ries recounted by earlier biographers. Whi l e symbo- l i zi ng Francis' great rapport wi t h the creatures o f the earth, the presence o f a wo l f also testifies to the savage, isolated spot on the wi l d mountai nsi de o f Alverna where the st i gmat i zat i on t ook place. The mount ai n was donated to Francis and his followers by a local noble- man as a spot for a hermitage. I n the Actus i t is related that before goi ng there hi mself, Francis sent some friars to scout the terri tory, and they had to be accompanied by fi ft y soldiers who cleared i t o f wi l d beasts. 5 3 Si m- ilarly, i n a much earlier representation by Gui do da Si - ena, the unt amed nature o f the mountai nsi de is con- the Isabella Stewart Gardner Museum, Boston, also shows Saint Fran- cis wearing sandals i n a departure from the Giottesque fresco i n the upper church of Assisi on which Giuliano's depiction depends. See Philip Hendy, European and American Paintings in the Isabella Stewart Gardner Museum (Boston, 1974), pp. 110-112, i l l . 49. "Pedes laneis peduciis vestit, ne videri possint, pelle supra vul - neribus posita, quae asperitatem laneam mitigaret." Thomas de Ce- lano, Vita secunda S. Francisci Assisiensis (Quaracchi, 1927), chap. 98, p. 136. 50. "Et pedibus ex tunc inuderet calceatis." Bonaventure, Legenda maior (supra, note 46), chap. 8, p. 8. Also on the footwear, see Octa- vianus a Rieden (supra, note 46), pp. 225226. 51. On the sources, see John R. H. Moorhead, The sources for the Life of S. Francis of Assisi (Manchester, 1940), and John V. Flem- ing, An Introduction to the Franciscan Literature of the Middle Ages (Chicago, 1977). 52. For the bibliography on the Fioretti/Actus, see Mari on A. Habig, ed., St. Francis of Assisi Writings and Early Biographies: English Omnibus veyed by the presence o f a bear's den and t wo bears cl i mbi ng about on the rocks. 5 4 Li ke the wolf, birds, also frequent Franciscan stories. The sermon to the birds i n Bevagna is perhaps the most famous episode, but t wo other incidents recounted bot h by Bonaventure and i n the Actus l i nk birds to Alverna. When Francis first arrived on the mount ai n, birds greeted h i m i n great numbers, and a female falcon, who bui l t a nest near his cell, woke the saint for mati ns wi t h her si ngi ng. 5 5 The falcon's diligence is praised, and i n the di pt ych she is pi ctured nur t ur i ng her young, whereas the other birds gaze on Francis and the falcon's nest near the cavernous hermitage. Bonaventure allegorized the bi r d as a presage o f the seraphic vi si on to come. The Master o f the Franciscan Temperas treated the subject si mi lar to the handli ng o f i t i n the di pt ych, t hough wi t h a greater interest i n the naturalistic depic- t i on o f species. 5 6 The depi cti on o f such a large number o f birds is uni que to the Get t y picture and the Master o f the Franciscan Temperas' sti gmati zati on; i t represents a departure fr om previous iconography. The Get t y sti gmati zati on departs fr om several other poi nts o f tradi ti onal Franciscan iconography. I n the Giottesque tradi ti onthe fresco i n Assisi, the related altarpiece i n the Louvre, and the fresco i n the Bardi chapelas i n most earlier representations, the craggy mountai nsi de is onl y sparsely vegetated and few signs o f ani mal life appear. 5 7 Francis communes alone wi t h the seraph. Even i n the earliest representation o f the scene by Ber li nghi er i , t wo bui ldi ngs domi nate the land- scape, Francis' o wn cabin and the fri ary i n the vale below where Brot her Leo and other companions so- j our ned. A n element di st i ngui shi ng the Getty st i gmat i - zati on is the dark gr ot t o openi ng behi nd the saint, whi ch silhouettes his for m and lends i t great relief. The grot t o takes the place o f Francis' cabin i n Giotto's Bardi chapel fresco o f the mi d to late 1320s, and is located of the Sources for the Life of St. Francis (Chicago, 1983), pp. 16911693. Stubblebine ([supra, note 41], pp. 8087) claims that the text was not available unt i l the 1330s. According to some Franciscan scholars, parts of it were circulating i n the late dugento, and the pieces were inte- grated i n either the early 1320s or 1330s. Moorhead (supra, note 51), pp. 165169; Fleming (supra, note 51), pp. 5859; and Giorgio Petrocchi, "Dagli 'Actus beati Francisci' al volgarizzamento dei Fioretti," Convivium 22 (1954), pp. 534-555, 666-667. 53. Actus, chap. 9, p. 19. 54. James H. Stubblebine, Guido da Siena (Princeton, N.J., 1964), figs. 4, 101, as well as 35, 61, 100. 55. Bonaventure, Legenda maior (supra, note 46), chap. 8, p. 10; Actus, chap. 9, pp. 24-26. 56. On monastic bird symbolism, see John V. Fleming, From Bona- venture to Bellini: An Essay in Franciscan Exegesis (Princeton, N.J., 1982), pp. 4144, and Gregorio Penco, " I I simbolismo animalesco nella letteratura monastica," Studia Monastica 6 (1964), pp. 738. 57. Giancarlo Vigorelli and Edi Bacceschi, eds., Lopera completa di 90 Strehlke above the saint. It also appears i n a few earlier, isolated examples that probably neither Gi ot t o nor the Get t y artist knew. 5 8 Aft er almost a century o f st i gmat i zat i on images, the i nclusi on o f a grot t o on Mo un t Alverna can onl y be explained i n terms o f a new way o f envi si oni ng the narrative and its locale. I n Celanos biography, rediscovered by the Spirituals, the saint's abi li t y to meditate undi sturbed is described i n the language o f the Canticle o f Canticles: "He nests hi msel f i n the clefts o f the rock, and inhabits the hol l ow places o f the walls." 5 9 Alverna i t self is a r ocky and pre- ci pi tous place wi t h many natural grottos perfect for sol- i tude and, according to the Actus, was chosen for that reason. Stubblebine recently observed that i n several pre-Actus, early fourteenth-century Spi ri tual texts, the locus o f the st i gmat i zat i on is not di rectly outside o f Francis' cell but i n a more soli tary and wi l d locati on. I n the Speculum perfectionis o f circa 1318 Francis is described as not wi l l i n g to have a wel l -bui l t cell or house but wi shi ng to be sheltered beneath the rocks. 6 0 Giotto's r endi t i on i n the Bar di chapel is a good example o f this new vi si on o f the event. The pr omi nent dark and empt y cave above Francis adds to the emot i onal and dramatic i mpact. The Get t y artist is considerably less hi stri oni c. Despite the changes based on a new reading o f the texts, he clings to older pi ctori al conventions; thus, even t hough Francis prays i n front o f a barren cave, the older t r adi t i on o f i ncl udi ng t wo hermitages is not abandoned. The manner o f depi cti ng the saint emergi ng fr om the cave ont o a nar r ow promont ory, as i f to greet the seraph, is uni que to the Get t y di pt ych. Al t hough Fran- cis' posture wi t h his arms raised above his head had been previ ously employed by the Master o f Fi gli ne, 6 1 the combi nat i on o f the cave and pose can be traced to a specific li terary source that wo ul d have been k n o wn to Elzear and Delphi ne, a series o f sermons on the st i g- mat i zat i on by the Provenqal Spi ri tual Franqois de Meyronnes. Meyronnes was responsible for the Libellus supplex wr i t t en i n Elzear's honor and, according to b i - ographers, was a l ong-t i me i nt i mat e; he also served as Giotto (Mi lan, 1977), figs. 38, 46, 138. 58. Examples dating from the dugento are found i n Pistoia, Museo Civico, and Orte, Cathedral: Pietro Scarpellini, "Iconografia fran- cescana nei secoli XI I I e XI V, " i n San Francesco d'Assisi storia e arte (Mi lan, 1982), pp. 97, 104. See also the examples of Guido da Siena and his school (supra, note 54). 59. "I n formainibus petrae nidificabat, et i n caverna maceriae hab- itatio eius." Celano (supra, note 48), chap. 27, p. 71. 60. Stubblebine, (supra, note 41), p. 83; Habig (supra, note 52), p. 1134. 61. Luciano Bellosi, Un pittore del trecento il Maestro di Figline, ex. cat. (Florence, Comune di Figline Valdarno, 1980), pi. 2. Elzear's last confessor and admi red Delphine's under- standing o f theology. 6 2 The relevant passage is fr om his second sermon and concerns the four vi rtues i mpr i nt ed on Francis by the seraph: Fourt hly, he possessed the vi r t ue o f i nfl ammat or y i n - spi rat i on; " who l l y therefore" as i n the Legenda, "as one mi ght say a coal is i gni t ed by di vi ne love" he t o wh o m the si gn appeared was i nflamed and set on fire. When thus i t [ the seraph] i nflamed the abbot [ Francis] as he had prayed for, i t set over h i m and coaxed that man wi t h upraised hand out o f the cavern. A n d the blessed Francis was not acti ng out o f his o wn accord, but by di vi ne di sposi t i on; because his spi ri t was exalted t o seraphic perfecti on; therefore, i t is f i t t i ng the saying o f the prophet ( Aggeus 2:4): " I shall raise thee up, my servant, and I wi l l make thee as a signet for I have chosen thee, saith the Lo r d o f Host s." 6 3 The Getty Francis closely reproduces Franqois de Mey- ronnes' image o f Francis drawn fr om the cave wi t h raised arms and suggests a dependence on the text itself. Since Franqois was an i nt i mat e o f the Angevi n court and a Spi ri tual, his ideas most probably circulated i n Naples. Meyronnes also l i nked the st i gmat i zat i on to the theme o f t r i umph. Thus, as ki ngs have thei r victories painted, he maintains the vi ct or y o f Chri st was sculpted on Francis dur i ng the sti gmati zati on, and he compares the experience o f Alverna to the establishment o f the celestial ci t y o f the mi l i t ant church placed on a soli d rock foundat i on. The saint is further li kened to the l i on that symbolizes Christ's t r i umph over the cross. 6 4 The cave then mi ght be associated wi t h a lion's den i n the figurative and the li teral sense. I n the sermons, Meyronnes also develops the theme o f alter Christus, or Francis' parallelism to Chr i st . 6 5 The fissure i n the rock is part o f this allegory. The mo un- tain's crags are attri buted to eruptions that occurred at the t i me o f Christ's Cr uci fi xi on, and Alverna is com- pared to Tabur where Chri st, li ke Francis, experienced a t ransfi gurat i on. 6 6 The story o f Alverna's peculiar land- scape bei ng formed at the t i me o f the Cr uci fi xi on be- came a theme o f Franciscan literature. It was later i ncor- 62. See "Trois sermons." On his relationship to Elzear and Del- phine: Enquete, pp. 54-55, 155, 159, 403, 540; Vies occitanes, pp. 15, 20, 22, 29, 112, 120. On Meyronnes himself, see Bartholomaeus Roth, Franz von Meyronna, sein Leben, seine Werke, seine Lehre (Werl, 1936). 63. "Quarto habuit vi rtutem inflammativam; 'totus enim,' ut habetur i n Legenda, 'sicut quidam carbo ignitus di vi ni amoris' erat inflammatus et succensus, cuius signum apparuit, quando sic inflam- mavit abbatem pro quo oravit, ut supra semtipsum poneret eum et quando manu protensa i l i um hominem palpavit i n antro, quia talia beatus Franciscus non habuit a natura propria, sed a dispensatione divina; quia Spiritus eius fuit ad perfectionem seraphicam sublimatus, ideo convenit et i llud prophetae Agg. 2, 24: 'Assumam te, serve meus, A Celibate Marriage 91 porated i n the Fioretti ( t hough i t is absent fr om the Actus) and Barth el my o f Pisa's De conformitate vitae beati Francisci ad vitam Domini Iesu. 67 Francis' si mi lar i t y to Moses was another theme de- veloped by Franciscan theologians. Franqois de Mey- ronnes emphasizes that Alverna is li ke Sinai, but instead o f stone tablets o f the law, Francis received the law o f love fr om the hand o f the l i vi ng Go d. 6 8 I n the Actus i t is recounted that God spoke to Francis i n his days o f con- t emplat i on before the sti gmati zati on, j ust as he had spo- ken to Moses. The analogy to Moses' bur ni ng bush mi ght by symboli zed i n the curious solitary bowed tree i n the lower ri ght -hand corner o f the Get t y picture. Flemi ng i n his analysis o f Belli ni ' s Saint Francis in the Wilderness i nterpreted the pr omi nent swayi ng laurel tree i n the same terms. He cited a medieval Jewish i l l umi na- t i on o f Moses and the "b ur ni ng" bush i n whi ch no flames appear as an early precedent. 6 9 A st i gmat i zat i on by a Ducci o follower i n Chri st Chur ch, Oxfor d, i n - cludes a si mi lar emphatically bent tree. 7 0 These arcane analogies were" part and parcel o f late medieval theology and undoubt edly affected visual symboli sm, as they may have i n these instances. The i nvesti gati on o f i conography has demonstrated that the di pt ych can be related to Elzear and Delphi ne, but how specific this connecti on may be depends on the dat i ng and at t ri but i on. Fortunately, Ceci li a and Valerian's costumes provi de a valuable guide for dat- i ng. They record luxuri ous dress o f the peri od before the mi ddl e o f the century when fashion changed. I n the forties the long, almost unisex, tunics the couple wear went out o f fashion. Me n started sport i ng close- fi t t i ng hose, and women's wear became decidedly more revealing. 7 1 Thi s is i llustrated i n the manuscri pt o f the Statuti delVOrdine del Nodo, i l l umi nat ed i n 13541355 by Cri st oforo Or mi ni a, i n whi ch Robert's successor, Joanna I , and her consort are depicted, as are many scenes o f court ly life (fig. 5) . 7 2 Two features di sti ngui sh the cut o f later trecento fashions: the manicotti, or the trai n on the sleeves, are l ong and attenuated, i n some et ponam sicut signaculum, quia te elegi, dicit Dominus exercituum'." See "Trois sermons," p. 383. 64. Ibid., pp. 386-387, 395. 65. On the theme of alter Christus, see Stansilao da Campagnola, L'angelo del sesto sigillo et V "Alter Christus": Genesi e suiluppo di due temi francescani nei secoli XIII-XIV (Rome, 1971), and Henk van Os, "St. Francis of Assisi as a Second Christ i n Early Italian Painting," Simiolus 1 (1974), pp. 115-132. 66. "Trois sermons," p. 394. 67. For the Fioretti reference, see Habig (supra, note 52), p. 1438. De conformitate vitae beati Francisci ad vitam Domini Iesu appears i n Analecta Francescana 5 (1912), p. 387. cases t r ai li ng to the ground, and the collars, parti cularly o f female dress, are wi der and lower cut. Ceci li a and Valerian's costumes reflect earlier styles. I n another Angevi n manuscript, also i l l umi nat ed by Cri stoforo Or mi ni a, the Bi ble o f Ni ccol d'Alife, whi ch can be dated before January 20, 1343because Robert is pres- ent and Joanna is shown as the hereditary princess not the queenthe dress is closer to the type pi ctured i n the di pt ych (fig. 6) . 7 3 Bo t h men and women wear loose tunics, the manicotti are shorter and wi der, and the neck- lines restrained. I f anythi ng, Ceci li a and Valerian are more conservatively dressed; thei r collars are not as open or thei r sleeves as elegantly cut. Though i t wo ul d be fooli sh to date a picture precisely on costume alone, and, i n particular, this picture, where perceptions o f the clot hi ng are distorted by the fi gural poses, i t is reason- able to suggest that the style o f the costumes is that o f the thi rti es. It closely parallels, for example, the con- t emporary dress depicted i n tri ptychs by Bernardo Dad- di and Taddeo Gaddi dating 1333 and 1334 respectively. 7 4 Assi gni ng the di pt ych a date i n the mi d-t hi r t i es means, o f course, that Elzear and Delphi ne are not re- presented i n i t , not even i n the guise o f Ceci li a and Valerian, because the pai nt i ng predates by about t hi r t y years Delphine's death i n 1360 and also predates Elzear's canoni zati on i n 1369. However, i t may mean that Delphi ne was personally i nvolved i n its creation and may have even commi ssi oned i t . It is, therefore, si g- nificant that the di pt ych can be related stylistically to wor ks o f art produced i n Naples fr om the late t wen- ties to the early forties for the Angevi n circle to whi ch Delphi ne belonged. The at t r i but i on o f the Get t y di pt ych has l ong puzzled art historians. Previously, Castelnuovo published i t as Venetian circa 1340 and close to Paolo Veneziano; La- clotte and Thi ebaut associated i t wi t h the Provencal Avi gnon school wi t h the designation to an Italian artist circa 1340-1350. 7 5 The first at t r i but i on t ook i nt o account the archaic elements o f the composi t i on, such as the gold striations on the angel's costume and the schematic renderi ng o f 68. "Trois sermons," p. 385. 69. Fleming (supra, note 56), pp. 5157, fig. 11. 70. James H. Stubblebine, Duccio di Buoninsegna and His School (Princeton, N.J., 1979), vol. 2, fig. 295. 71. Luciano Bellosi, Buffatmacco e il trionfo della morte (Turin, 1974), pp. 41-54. 72. Bologna, pp. 305-311, pis. VI I / 41-7. 73. Ibid., pp. 276-278, pis. VI/ 62-7. 74. Landis (supra, note 41), figs. 20, 17. 75. See supra, note 2. 92 Strehlke the foliage and mountai nsi de, whi c h recall the byzan- t i ni zi ng character o f early trecento Venetian art. These characteristics as they appear i n the di pt ych, and specifi- cally i n the st i gmat i zat i on panel, are, however, more i n keepi ng wi t h what seems to be an i nt ent i onally conser- vative t hrowback to dugento Tuscan images o f the st i g- mat i zat i on by Berli nghi ero Ber l i nghi er i and Gui do da Siena and his school. The choice o f an older formula dat i ng to the begi nni ng o f Franciscan i magery was probably mot i vat ed by the Spi ri tual Franciscans' obses- sion wi t h the order's pr i mi t i ve, si mple begi nni ngs. Gi ven its provenance fr om the Sabran fami ly, the di p- t ych was probably i n Provence fr om its earliest history. Whet her i t was actually executed there is another ques- t i on; alt hough few wor ks survive for compari son, no other pai nt i ng fr om the Avi gnon school can be i dent i - fied as by the same hand. Thi s fact i n i t self does not t ot ally di scount a Provencal manufacture. Many, i f not all, o f the pri nci pal artists active i n Provence, and largely at Avi gnon for the papal court, came fr om out - side the regi on. Thei r patronage was almost exclusively ecclesiastical. Stylistically, before 1350 the school was enti rely Itali an, and nearly t ot ally Sienese, i n ori enta- t i on. Si mone Mar t i ni , active i n Avi gnon fr om 1340/41, was, o f course, fr om Siena, and artists li ke Mat t eo Gi ovanet t i wor ked i n a recognizably Sienese style. The Get t y di pt ych is somewhat dependent on Sienese prototypes. Ceci li a and Valerian, wi t h thei r long, at- tenuated noses, pursed lips, and oversize hands, reflect Si mone Mar t i ni ' s types. They echo several figures fr om his early peri od: the Saint Mar t i n bei ng invested as a kni ght i n Assisi, the yout hful kneeli ng patron saints o f Siena i n the frescoed Maest, as wel l as some o f the figures i n the altarpiece dedicated to Saint Loui s o f Toulouse, then i n San Lorenzo Maggi ore, Naples. Even an archaic detail li ke the gold striations on the angel's robe can be found i n the panel o f the angel Gabri el fr om Si mones Orsini pol ypt ych i n the museum at Ant wer p. 7 6 The Simonesque elements o f the di pt ych are derivative, however, and do not constitute a total assi mi lati on o f the artist's style. The hi st ory o f early trecento art i n Naples is si mi lar to that o f Avi gnon, and indeed, as has been previ ously discussed, the t wo cities enjoyed close ties, Avi gnon bei ng, i n fact, a feudal dependency o f the Angevi ns. I n Naples as i n Avi gnon, artistic and cultural life was organized around the court. The former's school o f 76. Gianfranco Contini and Maria Cristina Gozzoli, eds., Lopera com- pleta di Simone Martini (Mi lan, 1970), figs. IIII, V - V I , XXXI I , LVI . 77. For example, Saint Louis of Toulouse with King Robert and Queen Sancha by the Neapolitan painter the Master of Giovanni Barrile was most likely sent to the convent of Sainte Claire i n Ai x as a gift from Figure 5. Cr i st ofor o Or mi n i a ( Itali an, active mi d- f o ur - teenth cent ury) . Knights Paying Homage to Lodovico di Taranto f r o m Statuti delVOrdine del Nodo, 13541355. I l l umi nat i o n o n vel l um. Paris, Bi bl i ot heque Nat i onale ms. 4274. pai nt i ng and sculpture owed much to the enli ghtened poli cy o f Ki n g Robert, who commi ssi oned outside art- ists, such as Cavalli ni , Gi ot t o, Si mone Mar t i ni , and Ti no di Camai no, for i mpor t ant projects. Fr om this peri od onl y a few names o f purely local painters are known, and even fewer artistic personalities can be constructed fr om the sur vi vi ng wor ks o f art. A l l the local painters bear the stylistic i mpr i nt o f the var i - ous regional influences that abounded i n the ci ty: Ro- man, Florentine, and Sienese. The Neapoli tan school di d not produce a consistent and recognizable style i n the same way that, for example, Sienese art is undoubt - edly Sienese. Stylistically, Neapoli tan pai nt i ng was i n - cohesive and eclectic. What the artists shared was thei r i nvolvement i n an Angevi n-i nspi r ed cultural policy. the queen between 1331 and 1332. See Bologna, pp. 211212, fig. V25. Other Neapolitan artists like the Master of the Franciscan Tem- peras worked for patrons from Sardinia and Prague. A tabernacle by this artist, probably produced for Robert of Anjou, now i n the Mora- vian Gallery i n Brno may have been i n Czechoslovakia from its ear- A Celibate Marriage 93 Such condi ti ons make at t r i but i on o f any undocument ed wo r k o f art to an eclectic school o f pai nt i ng li ke that o f Naples or Avi gnon problematic; this si tuati on is further compli cated wi t h an object as uni que as the Get t y di p- tych. Few private pai nti ngs, especially examples wi t h such an i denti fi ably personal iconography, survive. A l - t hough i t mi ght be argued that gi ven the Sabran con- necti on, the di pt ych could have been produced i n either Naples or Avi gnon, the closest visual si mi lari ti es are to be found i n Naples. It is i mpor t ant to bear i n mi n d the fact that Neapoli tan artists di d wo r k outside o f Naples, and there is also evidence that pai nti ngs manufactured i n Naples were sent to Provence. 7 7 A compari son wi t h the cycle o f canvases probably executed before 1336 for the convent o f Santa Chi ara by liest history. See Olga Pujmanov i n Italske Goticke a Renesancni obrazy v ceskoslovenskych Sbirkdch, ex. cat (Prague, 1987), no. 53, pp. 116118, pi. IV, fig. 53. Sienese, Florentine, and Ligurian masters active i n Naples also worked i n Provence making the artistic connections be- tween the t wo regions even closer. the Master o f the Franciscan Temperas proves i llust ra- tive. The t wo painters are stylistically, as wel l as i con- ographically, closely approxi mate. 7 8 I n addi t i on t o ob- vi ous poi nts o f compari son, such as thei r interest i n depi cti ng nature, the physi ognomy o f the representa- tions o f Saint Francis and the si mi lari ti es o f Ceci li a and Valerian i n the di pt ych to Robert and Sancha, who ap- pear as donors i n the Cr uci fi xi on fr om the Master o f the Franciscan Temperas' series (fig. 7), attest to the t wo artists' common approach to concei vi ng the human fig- ure. The Get t y painter, however, affects a gentle court ly manner that differentiates his wo r k fr om the sharp expressive quali ty o f the oeuvre o f the Master o f the Franciscan Temperas. The architectural setti ng o f the Ceci li a and Valerian 78. In a book that came out i n late 1986, after the present article was prepared, Pierluigi Leone de Castris published the Getty diptych as by the Master of the Franciscan Temperas i n an addendum, ac- knowledging the advice of Enrico Castelnuovo to whom I had already i n the summer of 1986 personally suggested the attribution. Leone 94 Strehlke Figure 7. Mast er o f the Franciscan Temperas ( Itali an, active circa 13301355). The Crucifixion with King Robert and Queen Sancha of Naples as Do- nors, before 1336. Tempera on canvas. Pri vate collect i on. Phot o: Cour t esy Ug o Bozzo Ed i - tore s.a.s., Rome. scene and the landscape o f the st i gmat i zat i on recall other Neapoli t an pai nti ngs. The landscapearchaizing elements o f whi ch have been notedcan be compared to earlier examples created by Cavalli ni and docu- mented i n Naples i n 1308; these appear i n the frescoes o f the Noli me lngere and Mary Magdalene Receiving Com- munion i n San Domeni co (fig. 8). The Get t y artist has adapted the jagged rock formati ons o f these frescoes, alt hough he makes t hem much more undulat i ng, as wi t h the ri dge that rises behi nd the grotto. He also i mi tates Cavallini' s style o f depi cti ng foliage i n whi ch broad areas o f dark vegetation are hi ghli ght ed wi t h li ght -colored leaves. 7 9 Li ke the Get t y artist and the Mas- ter o f the Franciscan Temperas, Cavalli ni deli ghted i n the pai nt i ng o f naturalistic details such as foliage and birds i n his San Domeni co frescoes. Archi tecturally, the small boxli ke envi ronment o f the Get t y Ceci li a scene recalls the si mple settings o f the altarpiece o f circa 1340 by the Master o f the Franciscan Temperas i n Ot t ana. 8 0 The secondary structures on the de Castris, Arte di corte nella Napoli angioma (Florence, 1986), p. 459, fig. 10 on p. 428. 79. On Cavallini, see Bologna, pp. 115146, pi. XI I (color), figs. III/ 20-9. 80. Bologna, pis. VI/ 18-35, pis. XXI - I I I (color). Figure 8. Pi et ro Caval l i ni (Itali an, active 12731308). Noli me tangere (detai l), circa 1308. Fresco. Na- ples, San Domeni co. Phot o: Cour t esy Ug o Bozzi Edi t or e s.a.s., Rome. r o o f and the attempt at depi cti ng perspective seen fr om below, whi ch wor ks so wel l i n accommodat i ng the an- gel's descent, are closer, however, to the wo r k o f an- other unkno wn Neapoli tan artist, the Master o f the Saint Eli zabeth Stories (figs. 9ab). Thi s painter, a close, t hough sli ghtly later, follower o f Cavalli ni , ex- peri mented wi t h architectural arrangements and narra- tive settings i n a fresco cycle i n Santa Mar i a Do n - naregina, whi ch depicts the legends o f saints Agnes and Elisabeth o f Hungar y and is dated vari ously to the late twenties or mi d-t hi r t i es. 8 1 A n i l l umi nat i on depi cti ng the marriage o f Maur i zi o and Constanza (fig. 10) fr om the second volume o f the Speculum historiale o f Vi ncent de Beauvais ( commi ssi oned i n 1320 by Fi li ppo de Haye, abbot o f the abbey o f Cava de Ti r r eni ) is very close i n 81. Ibid., pp. 135-138, pis. 111/48-52, 54-55, and George Kaftal, Iconography of the Saints in Central and Southern Italy (Florence, 1965), figs. 2226, 430445. Recognizing its Cavallinesque characteristics, Leone de Castris dates this cycle i n the twenties and proposes sev- eral groups o f artists for the scenes' design, whi ch I believe to be A Celibate Marriage 95 Figure 9a. Mast er o f the Saint Eli sabeth Stories ( I t al- i an, active second quarter o f the fourt eent h cent ury) . Saint Agnes Led to a House of Pros- titution, 1320s. Fresco. Naples, Santa Mar i a Donnaregi na. Phot o: Court esy Al i n ar i / Ar t Resource, Ne w Yor k. style to the frescoes and may wel l be by the same artist or one who wor ked i n Cavallini' s Neapoli tan cantiere. 82 The same contained structure seen i n the frescoes and Get t y di pt ych, i n whi ch the side walls recede at i n - congruent angles, is also found here. Though the architecture o f the frescoes far surpasses that o f the di pt ych i n spatial complexi t y and decoration, there are definite si mi lari ti es. Details li ke the con- structi on o f the tiles on the roofs o f the bui ldi ngs i n the st i gmat i zat i on and i n the frescoes are the same; the ar- chitectural detai li ng o f the di pt ych is, however, much si mpler and lacks Cosmat i wo r k or compli cated mo l d- ings. Also, the varied, colored stone fr ami ng o f the chapel door and rose wi n d o w i n the sti gmati zati on is remi ni scent o f more nor t h Italian, than Neapoli tan, ar- Figure 9b. Mast er o f the Saint Eli zabet h Stories (Italian, active second quarter o f the fourt eent h cen- t ur y) . Scenes from the Life of Saint Elisabeth of Hungary, 1320s. Fresco. Naples, Santa Mar i a Donnaregi na. Figure 10. Cavallinesque Mi ni at ur e Painter. Marriage of Maurizio and Constanza f r o m Vi ncent de Beauvais, Speculum historiale, circa 1320. I l - l umi nat i o n on vel l um. Cava dei Ti r r eni , Abbazi a ms. 26, fol. 123r. Phot o: Court esy Bi bli ot eca del Mo n umen t o Nazi onale, Badi a di Cava. stylistically coherent and unified. Leone de Castris (supra, note 78), pp. 386-393. 82. Mari o Roti li , La miniatura nella badia di Cava. I : Lo scrittorio i corali miniati per Vabbazia (Cava dei Ti rreni , 1976), pp. 5768, pi. LXVI I a. 96 Strehlke Figure 11. Mast er o f the Saint Eli sabeth Stories (Itali an, active second quarter o f the fourteenth century) . The Apparition of Saint Agnes to Constance (detail), 1320s. Fresco. Naples, Santa Mar i a Donnar egi na. Phot o: Cour t esy Al i n ar i / Ar t Resource, Ne w Yor k. chitecture and attests to the many influences acting upon Neapoli tan painters. The fi gure style i n the frescoes and the di pt ych is also close. Despite di f- ferences i n scale and the frescoes' damaged state, the hi nt o f deep-shadowed model i ng along the j awl i ne o f figures, the rounded facial type, and the t i ny eyeballs are treated so alike i n the Speculum historiale, the Santa Mar i a Donnaregi na frescoes, and the di pt ych that they may be presumed to have evolved fr om the same artistic mi l i eu. A compari son o f the flying fi gure o f the Saint Agnes i n the scene o f her appari ti on to Constance fr om the fresco cycle wi t h the Getty's cr owni ng angel is par- t i cularly t el l i ng (fig. 11). Incidentally, the subject matter o f the Santa Mar i a Donnaregi na frescoes wo ul d have had great appeal at the Angevi n court. The saints were bot h aristocratic, and Elisabeth was an Angevi n ancestor. The scenes cel- ebrate thei r devot i on to poverty and vi r gi ni t y, themes obvi ously i n vogue i n Naples, not onl y wi t h extraordi - nary courtiers li ke Elzear and Delphi ne, but also wi t h Queen Sancha and her circle. Investi gati on o f the di pt ych therefore leads t o the conclusi on that i t was made by a Neapoli tan artist, close to an artist li ke the Master o f the Saint Eli zabeth Stories, i n the 1330s. I t is also a hi ghl y personal wo r k o f art. A new and careful reading o f Franciscan texts i n - spired the depi cti on o f the st i gmat i zat i on, whi c h i n part depends on a sermon by Franqois de Meyronnes, the first scholar to study and wr i t e about Elzear and one close to the Neapoli tan court and Spi ri tual circles. As i t reflects Delphi ne and Elzear's ideals o f vi r gi ni t y and Franciscan poverty, and i n the Ceci li a and Valerian scene is i dent i fi ed wi t h thei r o wn mar r i ed life, Delphi ne may have commi ssi oned i t herself I t is di ffi cult, however, to reconcile her vo w o f poverty, sale o f fami l y property, and the descri pti on o f her dress as "crude, di rty, uncared for rags" wi t h the commi ssi oni ng o f such a l uxur y i t em. 8 3 Tho ugh sli ght ly fanatical and certainly sincere i n her renunci ati on o f wor l dl y wealth, Delphi ne was closely associated wi t h the court and an i nt i mat e o f Sancha. The queen shared Delphine's vi ews but also assiduously patroni zed the arts for the cause o f hol y poverty. Del phi ne may therefore have been able to j us- t i fy o wni ng such a portable wo r k o f art. Since i t can be so closely connected to Delphine's life, i f i t was not ordered by her, i t had to have been created at the behest o f someone close to her and to Elzear, possibly his brother and heir, Gui l l aume. 8 4 Certai nly, i t is rare i n the trecento that a small private wo r k o f art can be ap- preciated bot h for i t self and for the remarkable couple who i nspi red its manufacture. Phi ladelphi a Museum o f Ar t 83. "Pannis grossis, vilibus et neglectis." Enquete, p. 45. 84. De La Chesnaye-Desbois and Badier (supra, note 5), cols. 1314. The Noblest of Livestock Peter Sutton Gerard ter Bor ch is best remembered as a portrai ti st i n mi ni at ur e and the preemi nent hi gh-li fe painter o f his age. Hi s genre scenes depict a society at once elegant and exquisitethe confidences o f hi ghbor n women, sidelong glances shared i n courtshi p la mode, or the gallantries o f officers. Occasionally, ter Bor ch also rep- resented the noisier recreations o f the conscripted. Many too wi l l recall his domestic scenesstill images o f women absorbed i n the preparation o f a meal or the care o f chi ldren. Less wel l kno wn are the artist's images o f the wo r ki ng classes and rural life or his ani mal pai nt - ings. Two splendid examples o f the latter are The Horse Stall (fig. 1) and The Cow Shed (fig. 18), bot h recently acquired by the Getty Museum. I n The Horse Stall, 1 a dappled gray horse feeds at a manger i n a stable wi t h a hayrack overhead. Behi nd the horse a man rubs the ani mal down, whi l e at the r i ght a woman appears at a door. The tack and horse blanket hang fr om a post i n the r i ght foreground; a pi tchfork, br oom, pai l, and other barnyard utensils complete the scene. Wi t h the horse arranged parallel to the picture plane, the composi t i on has an almost reli efli ke quality. Gentle dayli ght i l l umi nat i on and subtle effects o f at- mosphere complement the scene's quiet mood. The pal- ette o f war m browns and grays is enlivened by color accentsthe red o f the woman's ski rt, the man's cap, and sections o f bri ck on the left-hand wal l . The author o f the most recent monograph on ter Borch, S. J. Gud- laugsson, has correctly observed the resemblance i n technique to the artist's so-called "Paternal Admonition," datable not later than 1655 (fig. 2), a wo r k whi ch em- ploys the same male model i n a different narrative con- t ext . 2 Thus the pai nt i ng wo ul d seem to have been ex- ecuted at the very begi nni ng o f ter Borch's mature career, a peri od fr om whi ch he was to emerge as the most i nfluent i al genre painter o f the latter hal f o f the seventeenth century. Ter Bor ch was pr i mar i l y a figure painter but had de- picted horses i n his earliest works. Bo r n i n Zwol l e to a wel l -t o-do fami ly, he first studied wi t h his father, who encouraged h i m to draw even as a chi ld. A pai nt i ng o f a rider vi ewed fr om the rear (fig. 3) employs a theme and composi t i on that ter Bor ch first addressed as an extraordi nari ly precocious seven-year-old i n a draw- i ng dated 1625 ( Amst erdam, Ri jksprentenkabi net). A l - t hough treated by earlier artists, the mo t i f o f a figure i n lost profi le, or seen fr om behi nd, was to become a vi r - tual trademark f t e r Borch's art; "The Paternal Admoni- tion" (fig. 2) is onl y the most famous o f his several images empl oyi ng this tantali zi ng device. I n 1634 ter Bor ch left his native Zwol l e to move to Haarlem, a far more i mpor t ant artistic center, where he Ir Hi l Bos, Anthony Dent, Walter Liedtke, Otto Naumann, Jan de Vries, Franklin Loew, Clifford S. Ackley, and Myr on Laskin are gratefully acknowledged for advising i n the preparation of this article. Abbreviations Bartsch: Adam von Bartsch, The Illustrated Bartsch, ed. Walter L. Strauss (New York, 1978-). Gudlaugsson: S. J. Gudlaugsson, Gerard ter Borch (The Hague, 1959-1960), 2 vols. Hague/ Mnst er : Mauritshuis, The Hague, and Landesmuseum, Mnster, Gerard ter Borch, ex. cat. (The Hague and Mnster, 1974). Hofstede de Groot: C. Hofstede de Groot, A Catalogue Raisonne of the Works of the Most Eminent Dutch Painters of the Seventeenth Century: Based on the Work of John Smith (London, 1913), vol. 5, no. 464. 1. Oi l on panel. H: 45.3 cm (17 13 /i 6 "); W: 53.5 cm (21Vi6 w ). Signed on the reverse of the panel wi t h the monogram GTB, ligated i n the artist's usual fashion. Accession number 86.PB.631. The literature is as follows: Francois Basan, Tableaux du cabinet de M. Poullain (Paris, 1780), no. 103. John Smith, A Catalogue Raisonne of the Works of the Most Eminent Dutch, Flemish, and French Painters (London, 1833), vol. 4, no. 21; G. G the, Wnas Collection (1895), no. 69; Charles Blanc, Histoire des peintres de toutes les ecoles: Ecole hollandaise (Paris, 1863), vol. 1, p. 16; W. Mart i n, "Aanwinsten van het Mauritshuis," Bulletin van den Nederlandschen Oudheidkundigen Bond 1, ser. 2 (1909), p. 239; Olaf Granberg, Inventaire general des tresors d'art en Suede (Stockholm, 1912), no. 2, i l l . ; Hofstede de Groot, vol. 5, no. 464; Eduard Plietzsch, Gerard ter Borch (Vienna, 1944), no. 33, i l l . ; Gudlaugsson, vol. 1, p. 96, i l l . p. 266, vol. 2, no. 109, pp. 115-116; Hague/ Mnst er, no. 31, i l l . ; Horst Gerson "Gerard ter Borch, " Kunstchronik 27 (1974), p. 375; B. Haak, The Golden Age (New York, 1984), p. 398, pi . 859; Philadelphia Museum of Ar t , Gemldegalerie, Staatliche Museen Preussischer Kulturbesitz, West Berlin, and Royal Academy, London, Masters of Seventeenth-Century Dutch Genre Painting, ex. cat. (Philadelphia, 1984), p. 143, n. 1; Eric Young, "Ol d Master Paintings i n the Collection of the Fellowship of Friends at Renaissance, California," Apollo 121, no. 280 (June 1985), pp. 375-376, pi. XI (color). Exhibition: Gerard Ter Borch, Mauritshuis, The Hague, and Landes- museum, Mnster, 1974, no. 31. 2. Gudlaugsson, vol. 2, no. 110. 98 Sutton Figure t Gerard ter Bor ch ( Dut ch, 1617-1681). The Horse Stall, circa 1652-1654. O i l o n panel. H: 45.3 c m (17 1 3 / i 6 "); W: 53.5 c m (21Vi6"). Mal i b u, The J. Paul Get t y Mus e um 86.PB.631. The Noblest of Livestock 99 Figure 2. Gerard ter Bor ch ( Dut ch, 1617-1681). "The Paternal Admonition," circa 16541655. O i l on canvas. H: 70 c m ( 27 9 / i 6 ") ; W: 60 c m (237s"). West Ber l i n, Staatliche Museen Preussischer Kult ur besi t z no. 791. studied wi t h one o f the city's leading landscapists, Pieter de Mo l y n (15951661). The influence o f de Mo l yn and other Haar lem circle artists, especially Isack van Ostade (16211649), is detected i n The Peasant Horse Cart (fig. 4), datable to the mi d 1640s. Whi l e this wo r k is st i l l conceived enti rely wi t hi n the convent i on o f the local peasant pai nt i ng t radi t i on, The Horse Stall incorporates aspects o f the new and elegantly si m- pli fi ed hi gh-genre style that ter Bor ch developed after circa 1650. Ter Borch's career prospered dur i ng the latter hal f o f the 1640s, and he was commi ssi oned to pai nt equestrian portraits. Hi s pai nti ngs o f Duke Henri de Longueville o f circa 1646/47 (fig. 5; formerly i n the collecti on o f the New-Yor k Hi st ori cal Society) and o f Archduke Karl Ludwig von der Pfalz o f 1649 ( formerly i n the Thyssen- Bornemi sza collecti on, Lugano) closely confor m to the 3. See respectively Gudlaugsson, vol. 2, nos. 50, 65. On the Ba- roque equestrian portrait, see D. J. Kok, Wahrheit und Dichtung in den Reiter-und Pferdegemlden und Zeichnungen berhmter hollndischer Maler (Ph.D. diss., Universitt Wrzburg, 1923); H. Ltzeler, " Auf Ikonologie des Pferdes i n der barocken Kunst," i n Festschrift fr Karl Lohmeyer (Saarbrcken, 1954), pp. 118124; U. Keller, Reitermonumente absotutischer Frsten (Muni ch and Zurich, 1971); Museum of Fine Arts, Springfield, Mass., and J. B. Speed Ar t Museum, Louisville, Ky, Figure 3. Gerard ter Bor ch ( Dut ch, 1617-1681). Rider Viewed from the Rear, circa 1634. O i l on panel. H: 54.8 c m ( 21 9 / i 6") ; W: 41.1 c m ( 16 3 / i 6") . Bost on, Mus eum o f Fine Ar t s, Juliana Cheney Edwards Col l ect i on, acc. no. 61.660. Phot o: Court esy Mus eum o f Fine Ar t s, Bost on. i nternati onal Baroque t r adi t i on o f equestrian por t r ai - ture. 3 I n bot h cases the noble subject is vi ewed on horse- back wi t h the steed t urned i n profi le and ri si ng on its hi nd legs i n the levade. One o f the most di ffi cult posi - tions i n the art o f equi tati on, this pose was not onl y a test o f the rider's ski l l i n cont r ol l i ng his mount but was also considered to be an attri bute o f certain command and leadership. Bo t h pai nti ngs are notable for depi cti ng forei gn nobi li t y. Al t hough the t r adi t i on o f the ruiter- portret was a l ong and venerable one i n the Net her- lands, 4 the modest court i n The Hague, unl i ke its gran- der counterparts elsewhere i n absolutist Europe, Glorious Horsemen: Equestrian Art in Europe 1500-1800, (Springfield, Mass., 1981). 4. For a good introduction to equestrian portraiture i n the Netherlands, see Fries Museum, Leeuwarden, Noordbrabants Mu- seum, 's-Hertogenbosch, and Provinciaal Museum van Drenthe, Assen, In het zadel: Het Nederlands ruiterportret van 1550 tot 1900 ('s-Hertogenbosch, 1980), wi t h bibliography 100 Sutton Figure 4. Gerard ter Bor ch ( Dut ch, 1617-1681). The Peasant Horse Cart, circa 1645. O i l on panel. H: 28 c m (11"); W: 38 c m (14 1 5 / i 6 "). For mer l y Amst er dam, wi t h the dealer W. Paech. Figure 5. Gerard ter Bor ch ( Dut ch, 1617-1681). Portrait of Duke Henri de Longueville, circa 1646/47. O i l o n canvas. H : 49 c m ( 19 5 / i 6 ") ; W: 41 c m (16V 8 "). For mer l y Ne w Yor k, New- Yor k Hi st or i cal So- ci ety no. B-104 (cat. 1915). i ncluded no elaborate r i di ng school or extensive stables. Whi l e Chr i spi j n van de Passe mi ght produce the en- graved i llustrati ons for Ant oi ne de Pluvinel's Le maneige royal (Paris, 1623)the most famous book on horse- manship o f its dayvi r t ually all the early literature on equi tati on and dressage was by Italian, French, or Engli sh authors. 5 When ter Borch's Horse Stall (fig. 1) was sold i n Amst er dam i n 1771, i t was said to portray the artist and his wi fe but was wr ongl y attri buted to the painter Gabri el Met su. 6 Gudlaugsson noted the resemblance o f the woman i n the doorway to the sitter i n an uni dent i - fied portrai t o f circa 1654 by ter Bor ch i n the J. Hage Foundat i on (Nivaa, Denmar k) ; the same model was also evi dently used i n several o f the artist's genre scenes fr om this per i od. 7 Whi l e Gudlaugsson left the pos- si bi li t y open that the woman could be ter Borch's wi fe, Geertrui d Matthyss (16121672 or before), The Horse Stall is clearly a genre scene, wi t h the i mpl i ci t anonym- i t y o f that pai nt i ng type. Obvi ously, the pai nt i ng is also to be di sti ngui shed fr om other genres o f pai nt i ng i n - vol vi ng horses, such as depictions o f equi tati on, battle scenes, and anatomy studies. Before t ur ni ng to the work' s precedents i n the genre pai nt i ng t radi t i on, however, we should note its relat i on- ship to t wo other discrete equestrian pi ctori al types, namely the depi cti on o f special breeds and types o f horses and i ndi vi dual horse portraits. The fort y engrav- ings executed circa 15761579 by Adr i aen Collaert, Hendr i ck Goltzius, Phi li ps Galle, and Hi er onymus Wi er i cx after the Flemi sh artist Jan van der Straet (Johannes Stradanus; 15231605) for the Equile Ioannis Austriaci Caroli V. Imp. F. (The royal stables o f Do n Juan o f Austri a) (fig. 6) depict horses o f many types and regionsSpanish, Turki sh, Dani sh, Tuscan, Campa- ni an, and so fort h (see fi g. 7) . 8 Later pri ntmakers per- petuated this t r adi t i on but i n the seventeenth century's more naturalistic i di om. A series o f eight pri nts o f com- mo n draft horses by Pieter van Laer (1599 or later1642) attests to the seventeenth century's spi ri t o f i nqui r y and 5. In addition to the writings of the classical author Xenophon, which were published i n Italian (Ii modo del cavalcare, 1580), see Leon Battista Alberti , De equo animanto (Basel, 1556); Federigo Grisone, Gli ordini di cavalcare (Naples, 1550); Cesare Fiaschi, Trattato dell'imbrigliare, manggiare et ferrare cavalli (Bologna, 1556); Alessandro Massari, Com- pendio dell'heroica arte di cavallieria (1600); Solomon La Broue, Preceptes principaux que les bons cavalerises doivent exactement observer en leurs ecoles (1593); J. Tacquet, Philippica, ou haras de chevaux (Antwerp, 1614); G. de La Bistrate, Le par fait cavalier (Paris, 1616); Delcampe, Lart de monter a cheval, 2nd ed. (Paris 1633/34); T. Blundeville, A New Booke Contain- ing the Art of Rydinge and Breakinge Greate Horses (London, 1560); and W. Cavendish, Duke of Newcastle, La methode nouvelle et invention extraordinaire de dresser les chevaux (Antwerp, 1658). The Noblest of Livestock 101 Figure 6. Adr i aen Co l b er t ( Dut ch, circa 1560-1618). T i - Figure 7. Phi li ps Galle ( Dut ch, 1537-1612), after Jo- tle page for Equile loannis Austriaci Caroli V. hannes Stradanus (Jan van der Straet). Turcus, Imp. E, circa 1576-1579. Engr avi ng. H: 20 c m circa 1578. Engr avi ng. H: 20.4 c m (87i6"); W: (7 Vs"); W: 25.7 c m (lOVs"). 26.2 c m (10 5 / i 6 "). factual observation; o f no special breed or di st i nct i on, these animals are si mply depicted i n all thei r natural aspects and activitiesstanding, dr i nki ng, grazing, r un- ni ng, pissing, even dyi ng (fig. 8) . 9 However, st i l l an- other series o f five etchings o f breeds o f horses dated 1652 by the famous ani mal painter Paulus Potter (16251654) suggests that even the most factually exact o f these wor ks mi ght carry an allegorical di mensi on. 1 0 A recent i nterpretati on o f the series has proposed that they embody the five progressive "Ages" o f li fe. 1 1 A pai nt i ng dated 1603 i n the Ri j ksmuseum (fig. 9) by Jacques de Gheyn I I portrays a specific Spanish stalli on captured fr om Mendoza by Lodewi j k Gunt her o f Nassau and offered to Prins Maur i t s after the Battle o f Flanders. 1 2 Led by a gr oom i nt o a stable, the horse is depicted nearly life size. Paulus Potter's Dappled Gray Horse dated 1653 (fig. 10) is also depicted on a very large scale and is probably a horse portrai t. Bo t h o f these pai nti ngs are vastly larger than the ter Borch, yet all Figure 8. Pieter van Laer ( Dut ch, 1599 or later1642). Dead Horses, before 1642. Et chi ng. H: 8.4 c m ( 3 5 / i 6 ") ; W: 9.9 c m (3 7 /s"). 6. Sale (as Metsu), Amsterdam, August 14, 1771, lot 3, to Nyman, for Fl 300; Prince de Conti , Paris (sale, Paris, Apr i l 8-June 6, 1777, lot 832, to Lannoy, for Fr 400; M. Poullain, Receveur general des do- maines du roi, Paris (sale, Paris, March 1521, 1780, lot 41 ( wi th an engraved reproduction by Mme Marguerite Ponce), to [Langlier], for Fr 2,400; Count G. A. Sparre, Sweden; by descent to Count G. Wachtmeister, Wanas, Sweden, 1980; [ Edward Speelman, London, 1981]; Fellowship of Friends, Renaissance, California, 1981-1986. 7. Gudlaugsson, vol. 2, no. 108; cf. also the Reading Lesson, Paris, Louvre no. M. L 1006; Galant Conversation, Schwerin, Gemldegalerie, Staatliches Museum no. 242; Lady at Her Toilette, Dresden, Gemldegalerie, Staatliche Kunstsammlungen no. 1830 (respectively, Gudlaugsson, vol. 2, nos. 98, 112, 113). 8. See Bartsch, vol. 3, nos. 290-293, pp. 312-325. 9. Bartsch, vol. 1, nos. 9-14, pp. 9-11. 10. Bartsch, vol 1, pp. 42-46. 11. J. Verbeek, "Paulus Potter (16251654), paarden: Ets," Openbaar kunstbezit 6 (1962), pp. 8ab. However, Clifford S. Ackley (Printmak- ing in the Age of Rembrandt, ex. cat. [Boston, Museum of Fine Arts, 1980], p. 211) rightly questions Verbeek's further assertion that the landscapes i n these prints allude to the cycle of the seasons. Amy L. Walsh, "Imagery and Style i n the Paintings of Paulus Potter," (Ph.D. Diss., Columbia University, 1985), p. 168, n. 34, also doubts Verbeek's theory 12. I . Q. van Regteren Altena, Jacques de Gheyn: Three Generations (The Hague, 1983), no. 15, pi. 2. 102 Sutton Figure 9. Jacques de Gheyn I I ( Dut c h, 15651629). Spanish Stallion, 1603. O i l on canvas. H: 228 c m ( 89 3 / / ) ; W: 269 c m ( 105 1 5 / i 6 ") . Amst er dam, Ri j ksmuseum no. A4255. Phot o: Cour t esy Ri j ksmuseum, Ast er dam. three wor ks, as wel l as the maj ori t y o f pri nts i llust rat i ng horse types, share the practice o f depi cti ng the horse i n profi le. Thi s ancient convent i on enabled the artist to give the fullest possible pi ctori al account o f the ani mal i n a single i mage. 1 3 Thus i t was favored not onl y for horse portraits and generic i llustrati ons o f horses but also for genre scenes, such as Hendr i ck Avercamp's early seventeenth-century pen dr awi ng o f a si mple peasant standi ng behi nd his draft ani mal (fig. 11) or a pai nt i ng, probably fr om the 1640s, by Pieter Cornelisz. Verbeeck (circa 16101654) depi cti ng a more elegant r i d - i ng horse (fig. 12). Unbur dened o f its saddle, whi ch appears l yi ng on the gr ound at the ri ght , the latter horse is tethered before a darkened wal l that enhances its li ght -colored coat. The Verbeeck is preserved i n the But ot collecti on, whi ch owns an analogous, t hough somewhat later, pai nt i ng by Di r c k Stoop (circa 16101686) o f another gray horse standing si lhouetted i n a dark gr ot t o (fig. 13). 1 4 Aelber t Cuyp, his close fol - lower Abr aham van Calraet (see fig. 14), and Adri aen van de Velde (see The Shoeing-Forge, 1658; o i l on panel; H: 28 c m [11"], W: 38 c m [ 14 1 5 / i 6 "] ; Rotterdam, Museum 13. The profile motif, whi ch also appears i n sixteenth-century Ger- man model books for animals (see infra, note 44), had appeared i n prints at least as early as Albrecht Drer' s The Small Horse engraving of 1505 (Hollstein, vol. 7, no. 93, p. 85). However, the suggestion under no. 35a i n the Hague/ Mnst er exhibition catalogue that Dr er s print was a direct source for the ter Borch ignores many intermediary images. 14. See Laurens K. Bol and George S. Keyes, Netherlandish Paintings Figure 10. Paulus Potter ( Dut ch, 1625-1654). Dappled Gray Horse, 1653. O i l on canvas. H: 155 c m (61"); W: 199 c m ( 7 8 W) . Hambur ger Kunst - halle no. 331. Phot o: Cour t esy Hambur ger Kunsthalle. Boymans-van Beuni ngen no. 1889) also pai nted stable scenes wi t h dappled grays i n these and fol l owi ng years. I n depi cti ng an iron-gray, dappled horse, kn o wn as a schimmel or appelschimmel i n Dut ch, ter Bor ch stood wi t hi n a popular t radi t i on. Al t hough Dut c h hi ppol ogy is st i l l a l i mi t ed field, 15 the native Gelderland breed today often appears wi t h this color coat and t r adi - t i onally has been used bot h for r i di ng and l i ght far m wor k. The moder n Friesian breed, on the other hand, is always black, but i t too appeared i n li ghter colors i n former times. I n the shape o f its croup and head, ter Borch's horse also shares features wi t h horses o f oriental bl ood. 1 6 Systematic breeding o f horses was not yet an established practice when this wo r k was painted. The Stettens o f Friesland, for example, onl y defined by law the mi n i mum hei ght o f a stud i n 1663. 1 7 It seems li kely, therefore, that ter Borch's horse is o f mi xed blood. Its stature is di ffi cult to ascertain since the man behi nd i t bends over slightly, but its wi thers are perhaps 1.5 me- ters hi gh; thus, i t is closer i n size to a ponywhat at this t i me the Engli sh, for r i di ng purposes, called a padthan a full-size horse. The hei ght o f the rack and and Drawings from the Collection ofF.C. Butot (London, 1983), nos. 14 and 13, respectively 15. See W. G. A. van Leeuwen, Geschiedenis van de Nederlandse paardenfokkerij (Ph.D. diss., University of Utrecht, 1922). 16. I am grateful to Ir Hi l Bos of the Zootechnical Department of the University of Utrecht for these observations. 17. See Jan de Vries, The Dutch Rural Economy in the Golden Age (New Haven and London, 1974), p. 143. The Noblest of Livestock 103 Figure 11. Hendr i ck Avercamp ( Dut ch, 1585-1634). Peasant beside a Horse, circa 16051610. Pen and wash dr awi ng. H: 8.1 c m ( 37i 6 ") ; W: 10 c m (4"). Mun i c h, Staatliche Graphische Samm- l ung i nv. no. 1359. Figure 12. Pieter Corneli sz. Verbeeck ( Dut ch, circa 1610-1654). A Gray Horse, circa 1640s. Oi l on panel. H: 38.5 c m (15 3 /i 6 "); W: 31 c m (12 3 /i 6 ") . F. C. But o t collect i on no. 14. Phot o: Co ur - tesy F. C. But ot . Figure 13. Di r c k Stoop ( Dut ch, circa 1610-1686). A Gray Horse in a Grotto, circa 16501660. O i l on panel. H: 52.5 c m (20 11 /i 6 ") ; W: 44 c m (177i6"). F. C. But o t collect i on no. 13. Phot o: Cour t esy F. C. But ot . Figure 14. Abr aham van Calraet ( Dut ch, 1642-1722). Stable Interior with Two Dapple Grays, circa 1675-1700. O i l on panel. H: 31.4 c m ( 12W) ; W: 40 c m (15 3 A"). Rot t erdam, Mus eum Bo y- mans-van Beuni ngen i nv. no. 1395. Phot o: Courtesy Museum Boymans-van Beuni ngen, Rot t erdam. 104 Sutton Figure 15. At t r i b ut ed t o Lamber t Do o mer ( Dut ch, 1624-1700). Horse Stall, circa 1645-1650. Oi l o n panel. H: 27 c m ( l OW) ; W: 21.5 c m (8V2"). The Hague, Mus eum Bredi us i nv. no. 212-1946. manger also suggest that the stable mi ght have been bui l t for heavier, larger horses. Al t ho ugh i n apparent good health, ter Borch's horse is smaller and slighter i n bui l d than the bi g t roop horses encountered i n battle scenes depicted by Phi li ps Wouwermans. At this t i me the size o f an army's chargers was st i l l a crucial logi sti cal factor i n warfare. Bi g horses were bred, i mpor t ed, and reserved for the cavalry, whi l e smaller animals were t urned over for ci vi l use i n transportati on or i n draft and pack on the farm. Obvi ously, ter Borch's li t t le horse is wel l cared fori ts mane and t ai l have been pulled (i.e., 18. See, for example, the page's attire i n Lady at Her Toilet, Detroit Institute of Arts no. 65.10; Gudlauggson, vol. 2, no. 165. 19. Compare, for example, the costumes i n Cornelis de Man's Geographers (Hamburg, Kunsthalle no. 239) and The Goldweigher (Montreal, private collection; see Masters of Seventeenth-Century Dutch Genre Painting [supra, note 1], no. 69). 20. Private communication from Professor Jan de Vries, University of California, Berkeley. 21. See Hofstede de Groot, no. 464. 22. Hague/ Mnst er , no. 31, p. 124. the hairs have been pulled out to a desired length) , its coat brushed, and its hooves wel l t r i mmed and shod. The man who curries the horse i n ter Borch's pai nt - i ng has been assumed to be a gr oom or ostler. He has been called a palfrenier i n the Poullai n sale (1780), a gr oom by Smi t h (1833) and by Hofstede de Gr oot (1913), and a Stallknecht by Gudlaugsson (1960). Whi l e the li ver y wo r n by servants i n ter Borch's genre scenes is often, at least i n part, i magi nary, 1 8 no professional equerry wo ul d wear footgear as unsuitable as backless slippers i n a stable. To j udge fr om other genre pai nti ngs o f the peri od, the shor t -br i mmed red cap and three- quarter-length trousers that the man wears could i n fact be wo r n by middle-class gentlemen or even scholars. 1 9 The woman's pearl earring and gold chain also poi nt to a hi gher social station than the servant class. The wel l - bui l t stall and the fact that the stable apparently opens di rectly ont o the house (note the woman's entrance) suggest a moderately wel l -t o-do household, possibly si mi lar to the enlarged farmhouse that appears i n the background o f the Potter (fig. 10). For those burghers who, t hough prosperous, could not afford the fashi on- able indulgence o f a full-scale vi l l a on the Vecht or Amst el , a converted farmhouse mi ght serve as a very comfortable count r y home. The ownershi p o f a horse i n the Dut ch mar i t i me provinces i n the mid-seventeenth century was some- t hi ng o f a pri vi lege. Many farms had onl y one horse, and i n the cities, coach ownershi p, whi ch was taxed, was less common than elsewhere i n Europe. The rela- ti vely mi nor role that arable agriculture requi ri ng draft animals played i n the Netherlands, coupled wi t h the extensive use o f canals for transportati on, made the horse a less than central player i n the workaday wo r l d o f Hol l and. Moreover, keepi ng even a common horse was expensive. Estimates for the eighteenth century sug- gest, for example, that the feeding and maintenance o f a horse o f the type used to pul l barges (trekschuiten) cost nearly 300 guilders per year, an amount r oughl y equal to the annual earnings o f a ski lled wor ker . 2 0 The abun- dant hayrack and t i dy stable enjoyed by ter Borch's well-fed steed clearly contrast wi t h the surroundi ngs o f Lambert Doomer' s worki ng-class nag (fig. 15). 23. See Nicolaus Taurellus, Emblemata/Physico-ZEthica (Nuremberg, 1602), no. 6, " UT L EN IS C I C UR A T MA N US "; and Diego de Soavedra Fajardo, Idea/de un Principe Politico/Christiano (Munich, 1640), no. 38, " C O N H A L A G O I C O N R I G O R "; see A. Henkel and A. Sch ne, Emblemata (Stuttgart, 1967), cols. 503-504. 24. See R. Hindringer, "Der Schimmel als Heiligenattribuut," Oberdeutsches Zeitschrift fr Volkskunde 5 (1931), pp. 9ff. 25. Oi l on panel. H: 47.7 cm (18 3 A"); W: 50.2 cm (19 3 //). Signed wi t h a monogram. Accession number 83.PB.232. The literature is as follows: W. Mart i n, "Aanwinsten van het Mauritshuis," Bulletin van The Noblest of Livestock 105 Figure 16. Phi li ps Wouwer mans ( Dut ch, 1619-1668). Horse Stable, circa 16451650. O i l on panel. H: 37 c m (14 9 / i 6 "); W: 49.5 c m ( 19 1 / / ) . Frank- fur t am Mai n , St del sches Kunst i nst i t ut no. 313. Thus, whi l e Hofstede de Gr oot mi ght di sti ngui sh ter Borch's pai nt i ng and his approxi mately cont empo- rary depi cti on o f a modest Stonegrinder's Family in a Courtyard (West Ber l i n, Geml degal er i e, Staatliche Mu - seen Preussischer Kulturbesi tz no. 793) 2 1 fr om the mas- ter's more socially elevated, hi gh-li fe subjects, The Horse Stall also differs fr om the guar dr oom and peasant pai nt- i ng traditions o f depi cti ng stables and barns. Earlier practitioners o f the peasant pai nt i ng t ypeHer man and Corneli s Saftleven, the Ostades, Govert Camphuysen, Pieter de Bl oot , and Egbert van der Poelall placed more emphasis on i nt eri or space and underscored the figures' connections wi t h the rural peasantry. Gudlaugs- son r i ght l y noted more composi t i onal analogies wi t h the contemporaneous stable scenes o f Phi li ps Wouwer - mans (fig. 16). Corneli s Visscher's earlier pri nts after van Laer's stable scenes also reveal formal parallels and si mi lar mot i fs (fig. 17). I n i nt erpret i ng The Horse Stall, the authors o f the catalogue o f the 1974 ter Bor ch exhi bi t i on cited Hei nr i ch Hovel's bestiary, Neuwer wunderbarlicher Thier- garten (Frankfurt, 1601), p. 134, whi ch quotes Seneca: den Nederlandschen Oudheidkundigen Bond 1, ser. 2 (1909), p. 239; Hofstede de Groot, vol. 5, no. 463; Plietzsch (supra, note 1), no. 32, pp. 13-14, 52, fig. 32; Gudlaugsson, vol. 1, pp. 75-76, vol. 2, no. 74, p. 94; The J. Paul Getty Museum, "Acquisitions/1983," The J Paul Getty Museum Journal 12 (1984), p. 311; Burton B. Fredericksen, "Recent Acquisitions of Paintings: The J. Paul Getty Museum, " Burlington Magazine 127, no. 985 (1985), p. 265. Provenance: Samuel van Hls, The Hague (sale, The Hague, Sep- tember 3, 1737, lot 87, to W. Lormier, The Hague); W. Lormier (sale, The Hague, November 10, 1756, lot 298, to Prince "Galensin" Figure 17. Corneli s Visscher ( Dut ch, 16191662), after Pieter van Laer. Horse Stable, circa 1640. En - gravi ng. H: 29.5 c m (UVs"); W: 39 c m ( 15W) . " No n faciunt mel i or em equum aurei freni ." Thi s phrase expresses the not i on that a golden harness cannot make a horse nobler than he is by nature. The catalogue thus concluded that ter Borch's horse, whose natural sheen is enhanced by brushi ng, is "a sign o f nobi l i t y and beauty, [ and] an exhort at i on to modesty." 2 2 Thi s i nterpretati on ignores obvi ous discrepancies between the i mage and the symbol; to name but one, the harness hangi ng fr om the post is steel not gold. Some emblems fr om this peri od l i ken the st roki ng or gr oomi ng o f a horse to the mi t i gat ed cont rol required i n the exercise o f power. 2 3 It seems unli kely, however, that ter Borch's lovely scene o f equine domesti ci ty encodes a hectori ng moral lesson or some recondite allegory o f good government. We also probably need not delve i nt o the schimmeVs historic role i n hagiography to discover ter Borch's purpose. 2 4 The Horse Stall is more profi tably considered i n the larger context o f ter Borch's art and specifically i n rela- t i on to The Cow Shed (fig. 18), also recently acquired by the J. Paul Getty Museum. 2 5 Eduard Plietzsch was the first to hypothesize that these t wo pai nti ngs were com- pani on pieces. Hi s theory wo n Gudlaugsson's support [ Galitzin] , Saint Petersburg); Dr. Paul van Delaroff, Saint Petersburg, 1908; [ Dr. A. K. K. W. Erasmus, Aerdenhout] ; Frau Bertha Krupp von Bohlen und Halbach, Essen, by 1953; Dr. A. Krupp von Bohlen und Halbach, Essen; Waldtraut Thomas (ne von Bohlen und Halbach); sale, Christie's, London, December 11, 1981, lot 119 (property of two sisters), withdrawn; [Edward Speelman, Ltd., London, 1983]. Exhibitions: Mauritshuis, The Hague, 1908-1912 (on loan); Villa Hgel, Essen, 1953, no. 14; Aus der Gemldesammlung der Familie Krupp, Villa Hgel, Essen, 1965, no. 7; Gerard Ter Borch, Maurits- huis, The Hague, and Landesmuseum Mnster, 1974, no. 18. 106 Sutton Figure 18. Gerard ter Borch (Dutch, 1617-1681). The Co, She, area 1652-1654. Oon panel. H: 47.7 cm (183//); W : 5 0 . 2 cm (19 3 //). Malibu, The J. Paul Getty Museum 83.PB.232. The Noblest of Livestock 107 despite the fact that the wor ks have different prove- nances and seem to have been painted at different times; Gudlaugsson believed that The Cow Shed, on stylistic grounds, should predate The Horse Stall by several years, dati ng "shor t ly after 1650." The fact, however, that the t wo panel supports are complete (the ori gi nal beveli ng on the reverse is intact) but differ i n thei r d i - mensions by approxi mately three centimeters, as wel l as i n make up (the grai n runs verti cally i n The Cow Shed, hori zont ally i n The Horse Stall), vi r t ual l y eliminates the possi bi li ty that they were designed as pendants. Though not properly speaking compani on pieces, they nonethe- less complement one another i n theme and design. I n bot h pai nti ngs an ani mal i n profi le is tended by a figure i n a shadowed i nteri or. I n The Cow Shed the mi l kmai d squats to mi l k one cow as a second stands stoli dly to one side. Barnyard utensils again complete the scenea t rough, wat eri ng tub, mi l k i n g cushion, fodder sieve, chamber pot, wooden bucket, ax, and choppi ng block. The Horse Stall mi ght evoke a more socially elevated setting, but its tone is the same. A st i l l and subdued mood prevails i n The Cow Shed, "no other sound than the spattering o f the mi l k and the heavy breathi ng o f the beasts." 26 Ter Borch's healthy cows r emi nd us o f the advances that were made i n ani mal husbandry at this t i me i n the Netherlands. The Dut ch cont rol o f the Balti c grai n trade freed the country's farmers fr om the burden o f feeding thei r cities' burgeoni ng populations, enabling t hem to t ur n to more profitable pursuits, such as i ndus- tri al and hort i cult ural crops, cattle breeding, and dai ry farmi ng. I mpr oved drainage and systematic fert i li zat i on o f pasturage, as wel l as better fodder, such as oi l cakes (pressed pulp o f rape and cole seed), contri buted to the increased wei ght and size o f Dut ch cattle. The mi l k pr oduct i on o f cows i n the provinces o f Hol l and and Friesland was renowned, easily exceeding the yi el d o f Engli sh and German cows. 2 7 Li ke many foreigners be- fore hi m, Czar Peter the Great purchased Dut ch cattle for breedi ng purposes i n 1725. The Dut ch themselves di d not hesitate to boast about the commerci al value o f thei r cattle. 2 8 Qui t e naturally, they associated cows wi t h prosperity. I n the visual arts as wel l as i n literature, this l owl y ani mal became a symbol o f fecundity, indeed o f Hol- 26. Gudlaugsson, vol. 1, p. 75. 27. On livestock husbandry and the mi l k production of Dutch cows, see G. J. Hengeveld, Het rundvee (Haarlem, 18651870), 2 vols., and de Vries (supra, note 17), pp. 143144, wi t h additional literature. 28. See, for example, Kaerle Stevens and Jan Libaut, De veltbouw (Amsterdam, 1622), and Wouter van Gouthoeven, D'oude chronijcke end Historien van Holland (The Hague, 1636). Figure 19. Hendr i ck Hondi us ( Dut ch, 1573-1650). Alle- gorical Print on Dutch Prosperity, 1644. Et chi ng. H: 20.6 c m (87s"); W: 15.7 c m ( 6 3 / i 6 ") . Amst er dam, Ri j ksmuseum A14229. Phot o: Court esy Ri j ksmuseum, Amst er dam. Figure 20. Engl i sh school. The Milk Cow: Satire on the Exploitation of the Netherlands by the Prince of Orange, circa 1585. O i l oh panel. H: 52 c m (207i6"); W: 67 c m ( 26W) . Amst er dam, Ri j ksmuseum no. A2684. 108 Sutton Figure 21. Jan van de Velde ( Dut ch, circa 1593-1641). Figure 22. Corneli s Bloemaer t ( Dut ch, 1603-1684), af- The White Cow, 1622. Et chi ng and engravi ng. ter Abr aham Bloemaert . Terra ( Eart h) . Et ch- H : 17.1 c m ( 6 3 / / ) ; W: 22.7 c m ( 8 1 5 / i 6 ") . i ng. H: 9.5 c m ( 3 W) ; W: 14.9 c m ( 5 7 / 8 ") . Amst er dam Ri j ksmuseum FK409. Amst er dam, Ri j ksmuseum. Phot o: Cour t esy Ri j ksmuseum, Amst er dam. lands welvaren, the wel l bei ng o f the Dut c h nat i on i t - self. 2 9 So t hor oughl y had these associations entered the popular i magi nat i on that one o f a series o f five poli t i cal pri nts o f 1644 by Hendr i ck Hondi us, whi ch depicts a pair o f large, sturdy cows grazi ng beside a river before a lush landscape (fig. 19), carries the i nscr i pt i on i n Dut ch: Ghy Heeren wachters wel neerstelyck toesiet, Dat Ons gerooft werd' de Hollandse koe niet ( watchmen be vi gi lant that the Dut c h cow is not stolen) as an admoni t i on against a hasty and unprofi table peace treaty wi t h Spain. When this treaty was fi nally concluded at M n s t e r i n 1648, the 29. The first to discuss the political symbolism of the Dutch cow was H. van de Waal, Drie eeuwen vaderlandsche geschied-uitbeelding 1500-1800 (The Hague, 1952), vol. 1, pp. 21-22. For a whole range of different meanings and associations for the cow, see Alison Kettering "The Batavian Arcadia: Pastoral Themes i n 17th Century Dutch Ar t " (Ph.D. diss., University of California, Berkeley, 1979); Joneath Spicer, " 'De koe voor d'aerde statt': The Origins of the Dutch Cattle Piece," i n Essays in Northern European Art Presented to Egbert Haverkamp- Begemann on His Sixtieth Birthday (Doornspijk, 1983); A. Walsh (supra, note 11); and Alan Chong i n Rijksmuseum, Amsterdam, Masters of Seventeenth Century Dutch Landscape Painting (Amsterdam, 1987), no. 21. 30. See van de Waal (supra, note 29), vol. 1, p. 22, n. 2: "Samuel Coster, Verklaringh van de ses eerste vertoningen, gedaen binnen Amsterdam . . . 5 Junij 1648." 31. The Rijksmuseum's painting is inscribed "Not longe time since I sawe a cowe/ did Flaunders represente/ upon whose backe Kinge Phillip rode/ as being malecontnt./ The Queene of England giving hay/ wheareon the cow did feede/ as one that was her greatest helpe/ i n her distresse and neede. / The Prince of Orange mi l kt the cow and made his purse the payle. / The cow did shyt i n monsieurs hand/ while hie did hold her tayle." See also Jan Tengnagel's, Allegory of the Nether- lands (Delft, Stedelijk Museum "Het Prinsenhof" ). For further dis- poet and pl aywr i ght Samuel Coster presented a play on the peace treaty i n whi ch, as he described the action, the "Rul i ng States o f Hol l and, li ke the hundred eyed Ar - gus" wat chi ng over the cow Io, must sleep no more but forever play the watchful guardian o f "the cow (that is her o wn agreeable Fatherland)." 3 0 Even outside the country, the poli t i cal association o f the cow wi t h the Dut ch nati ons prosperi ty was codified as early as the late sixteenth century. A n anonymous Engli sh pai nt i ng o f circa 1585 satirized the country' s exploi t at i on by the prince o f Orange wi t h a brutali zed mi l k cow (fig. 20) . 3 1 cussion of the cow's political associations, see A. Walsh (supra, note 11), p. 343ff, and Chong (supra, note 29), no. 21, n. 9. 32. Van der Kellen, no. 409, dedicated to Jodocus (Joos) Vergraft. The Latin verses (as translated by Irene de Groot i n Landscape Etchings by the Dutch Masters of the Seventeenth Century [ Amsterdam, 1979], p. 69) read: "The night is hardly gone before this industrious country- man leaves for town wi t h goats and a cow. . . . The heavy work is light for hi m as long as he comes home later loaded down wi t h the money he has earned." The group of animals and peasant couple are based on a drawing by Wi llem Buytewech (Cambridge, Fi tzwi lli am Museum). 33. See Spicer (supra, note 29), pp. 251256; and A. Walsh (supra, note 11), p. 249ff 34. Het schilder-boeck (Haarlem, 1604), fig. 125. 35. A. Walsh (supra, note 11), p. 239. In her excellent study of Potter's art as it relates to Dutch attitudes toward country life, Walsh relates these notions to neo-stoicism and seventeenth-century Dutch literature, including arcadian poetry and the tradition of hofdichten (country house poems). 36. Bartsch, vol. 7, no. 158. This work has been interpreted erot- ically by Leo Wuyt ("Lucas van Leyden's Melkmeid, een proeve tot ikonologische interpretatie," De gulden passer 5253 [19741975], pp. 441-453), and J. P. Filedt Kok (in Lucas van Leyden [1489 of The Noblest of Livestock 109 By vi r t ue o f its associations wi t h fer t i li t y and i n rec- ogni t i on o f the cattle drives that were held i n the spring, the cow was also a vernal symbol i n a series o f landscape etchings o f the seasons by Jan van de Velde or Gi lli s van Scheyndel after Wi l l e m Buyt ewech (see Ver: Franken-van der Kellen, no. 518). As an emblem o f rural bount y (see fi g. 21) , 3 2 the cow also embodi ed Eart h i n pr i nt series by among others Corneli s Bloemaert, after Abr aham Bloemaert (fig. 22), on the Four Elements. 3 3 Af f i r mi n g these ideas, van Mander stated i n his Wtbeeldinghen der figueren: "De Koe voor d'aerde [ statt] " (the cow represents the earth) . 3 4 Mor e general was the Dutchmen' s sense o f the contented cow as a metaphor o f freedom, security, and the t ranqui li t y o f l i vi ng life i n accord wi t h nature. 3 5 The ample hi st ory o f bovi ne i magery can be traced at least as far back as Lucas van Leyden's engravi ng o f 1510 called The Milkmaid. 36 Anot her mi lestone i n this t r adi - t i on is Rubens' Dairy Farm at Laeken ( London, Buck- i ngham Palace, H. M. The Queen's Collect i on) o f circa 1620, whi ch again alludes to the earth's fer t i li t y wi t h a scene o f cattle and mi l kmai ds. 3 7 Immedi at ely preceding ter Borch's pai nt i ng i n date and anti ci pati ng aspects o f its composi t i on is Aelbert Cuyp' s early Cow Shed o f circa 16451650 (fig. 23) . 3 8 St i l l another predecessor is Paulus Potter's famous Young Bull o f 1647 (The Hague, Mauri t shui s i nv. no. 136). Though very different i n conception, Potter's huge canvas, the related "port rai t s" o f prize steers and bul l s, 3 9 and Cuyp' s many landscapes wi t h fat cows grazing placi dly i n the sun express the Dutchman' s pri de i n his ani mal husbandry no less clearly than ter Borch's Cow Shed. By the same t oken, The Horse Stall offers a comfor t i ng i mage o f Dut ch 1494-1533]grafiek, ex. cat. [ Amsterdam, Rijksprentenkabinet, 1978], pp. 3132, fig. 21). The basis of these erotic interpretations are the connotations of the verb melken (to mi lk) which i n the sixteenth century could also mean "to lure" (lokken). In the absence, however, of Lucas' hulki ng farm boy or any other companion for ter Borch's earnest and purposeful mi lkmai d, there scarcely seems reason to as- sign sexual connotations to her work. 37. See Spicer's interpretation of the work as an "allegory of Earth's fecundity" (supra, note 29, p. 254). 38. See Stephen Reiss, Aelbert Cuyp (Boston, 1975), no. 65, p. 100, i l l . , and compare also no. 66. The stable scenes of Cornelis Beelt (circa 16301702) also resemble these works. 39. See the anonymous Portrait of a Prize Steer, 1564, Amsterdams Historisch Museum inv. no. A3016, and Portrait of a White Bull, by a follower of Paulus Potter, Dubli n, National Gallery of Ireland ( Ho- man Potterton, Dutch Seventeenth and Eighteenth Century Paintings in the National Gallery of Ireland [ Dubli n, 1986], no. 56, pp. 116-118, fig. 127). For a discussion of the tradition, see the entry on Potter's Young Bull by Ben Broos i n the catalogue of an exhibition held at the Grand Palais, Paris, De Rembrandt Vermeer: Les peintres hollandais au Mauritshuis de La Haye, ex. cat. (The Hague, 1986). 40. See Wolfgang Stechow, Salomon van Ruysdael, 2nd ed. (Berlin, 1975), nos. 136A (dated 1626), 137 (Leiden, Stedelijk Museum de Figure 23. Ael ber t Cuyp ( Dut ch, 1620-1692). Cow Shed, circa 16451650. O i l on panel. H: 77 c m ( 30 5 / i 6") ; W: 107 c m (42V 8 "). St ockhol m, Na- t i onal museum no. N M 4441. livestock, no less positive i n its fashion, than Salomon van Ruysdael's several pai nti ngs o f the excited spectacle o f the famous Valkenburg horse fai r. 4 0 The fact, however, that ter Bor ch selected these sub- jects for his t wo most exceptional and ambi ti ous ani mal pai nti ngs is probably not fort ui t ous. 4 1 Beyond acknowl- edgi ng the creatures' natural barnyard complementarity, the pai nti ngs may t ell us somethi ng about ter Borch's concept o f the artist. The ni nt h chapter o f Karel van Mander's Den grondt der edel vry schilder-const (The foun- dati on o f the noble art o f pai nti ng) i n Het schilder-boeck (Haarlem, 1604) is t i t led "Van beesten/dieren/en vogh- els" ( Of beasts/animals/and bi r ds) . 4 2 He begins this Lakenhal no. 823, dated 1633), 138A (Prague, Nr odni Galeri no. 494, dated 1643), and 136 (dated 1643). See also Adriaen van de Vennes Prince Maurits and Frederik Hendrik Visiting the Horse Fair at Valkenburg, dated 1618, Amsterdam, Rijksmuseum no. A674. On the horse market at Valkenburg, see E. Pelinck, "De paardenmaarkt te Valkenburg." Leids jaarboekje 50 (1958), p. 83ff; and Annette Hoogendoorn, i n Kunsthistorische mededelingen (1947), vol. 2, pp. 3840. Pieter Wouwer- mans' depiction of the horse market i n Delft, circa 1670, is i n the Stedelijk Museum "Het Prinsenhof," Delft. 41. Analogous images of cows and horses often appear together i n print series by, among others, Pieter van Laer and Paulus Potter, but pendant paintings are only known from sales references and are hence unverified. See, for example, sale, Gaillard de Gagney, Paris, May 29, 1762, lots 20 and 21 (Hofstede de Groot [Potter], nos. 29 and 317). Smith's claim ([supra, note 1], vol. 5 [Potter], under no. 87) that the Horse Stable of 1647 by Potter i n the Philadelphia Museum of Ar t (no. E'24-3-17) is the pendant of the painting of Cattle and Sheep in a Stormy Landscape, London, National Gallery no. 2583, has no basis; the works differ i n design and early history. A. Walsh concluded that Potter never painted pendants (supra, note 11), p. 276. 42. See, for a translation into modern Dutch and for commentary, Hessel Miedema, Karel van Mander: Den grondt der edel vry schilder- const (Utrecht, 1973) vol. 1, pp. 218-235; vol. 2, pp. 558-569. 110 Sutton section o f his didactic poem for artists by assuring his readers that a great "al l ar ound" (universael) painter must master ani mal subjects, as wel l as (and here we infer fr om the larger context o f the leerdicht) the pai nt - i ng o f landscape, discussed i n the previous chapter, and drapery, whi ch is taken up i n the fol l owi ng section. For van Mander, ani mal pai nt i ng is a discrete pai nt i ng type and discipline, albeit one at the service o f the pai nt i ng o f the human figure, t radi t i onally the artist's noblest calli ng. The t wo animals that he recommends for artis- tic study, and to whi ch he devotes vi r t ual l y his entire chapter, are not exotic or i conographi cally charged crea- tures, such as the l i o n or the elephant, but the preemi - nent tamme heesten (domestic animals), the horse and the cow. 4 3 Wi t h his customary appeal to classical prece- dents, van Mander refers to famous horses o f ant i qui t y to praise the animal's nobi li t y, bravery, and loyalty (chap. 9, 45). He alludes to systems for dr awi ng horses fr om a series o f circles and to artists who make careful measurements o f animals, but he has li t t le sympathy for those who rely t oo much on the caliper and measuring stick (chap. 9, 89). 44 Rejecting any rules for ideal equestrian proporti ons, van Mander exhorts young art- ists to study the out war d physical appearance o f horses, thei r movements, types, colorati on ( i ncludi ng schoon ap- pelgrau), and the way i n whi ch the l i ght plays on thei r coats (chap. 9, 1017). I n stressing the need to observe even such details as a horse's lather and spit, van Mander digresses on the possi bi li ty o f pr ofi t i ng fr om accidental effects i n art (chap. 9, 1723). To illustrate how effective classical painters were i n achieving the goal o f the i l l u- sion o f reality, he recounts Pliny's tale o f Apelles, the greatest painter o f antiquity, t ur ni ng the j udgment o f his pai nt i ng o f a horse and the wo r k o f a jealous ri val over to the animals themselves (chap. 9, 2425). When br ought before actual horses, the rival's wo r k elicited no response, but Apelles' pai nt i ng made the li ve steeds snort and whi nny. Accor di ng to van Mander, the classi- cal artist's success was based on exhaustive research, even to the poi nt o f usi ng horse cadavers (chap. 9, 28). Tur ni ng to cattle, the author again stresses the need for careful observation, enumerati ng physical attributes (bearing, expression, colori ng, and details li ke the lengt h o f horns and shape o f ears) that serve to dis- t i ngui sh a cow fr om a bul l or ox. Once more, classical precedents are cited, i ncl udi ng Pausias' abi li t y to pai nt cattle not onl y i n profi le but also foreshortened (chap. 9, 3738); the celebrated Farnese bul l ; and the case o f the great Myron' s masterpiece, a statue o f a cow i n the mar- ketplace at Athens. Van Mander even offers his o wn translation o f a dozen o f the t hi r t y-si x epigrams fa- mously devoted to this statue and preserved i n the Anthologia Graeca. But his ult i mat e purpose i n all this display o f er udi t i on is si mply to confi r m "datter ni et beter en is, als alle di nghen nae t'leven te schilderen" (that there is not hi ng better than to pai nt all thi ngs fr om life [chap. 9, 47] ). St i ll the most i mpor t ant and i nfluenti al art treatise i n Dut ch dur i ng ter Borch's li feti me, van Mander's Schil- der-boeck could scarcely have escaped the painter's atten- t i on. Tho ugh not van Mander's ideal hi st ory painter, ter Bor ch was a devoted painter o f the human figure. By pai nt i ng a pair o f domestic animals, he departed fr om his customary genre themes and portraits, but i n so doi ng, he fulfi lled van Mander's prescriptions for the "al l ar ound" artist by pai nt i ng precisely those subjects i n the very naturalistic style recommended by the theo- rist. However, the real t r i umph o f ter Borch's pai nti ngs is the complete absence o f any appearance o f theoretical or methodologi cal i llust rat i on. As i n the greatest o f the painter's domestic genre scenes, his ani mal companions are subjects at once common and monument al, momen- tary and timeless, conceived wi t h a compel l i ng si m- pli ci t y and t r ut h to life. Museum o f Fine Ar t s Bost on 43. Van Mander, Grondt, chapter 9, verse 3: "Aen tamme Beesten moghen wy aenveerden/ Onderwysich begin te desen Stonden/ Eerst aen t'edelste der Vee/ groot van weerden/ Dats aen de behulpsaem moedighe Peerden" (We begin this instruction wi t h domestic animals. First, the noblest of livestock, highly valued [animals], the obliging, brave horses). 44. Miedema (supra, note 42), vol. 2, p. 561, suggests that the traditional formulae for designing the forms of horses from circles descends from German model books by Heinrich Lautensack (1564) and Sebald Beham (1582). The Blessed Bernard Tolomei Interceding for the Cessation of the Plague in Siena: A Rediscovered Painting by Giuseppe Maria Crespi John T. Spike Dur i ng the plague o f 1348, kno wn to hi st ory as the Black Death, the Blessed Bernard Tolomei , who had founded a congregation o f Benedictine monks at Mont e Oli vet o, forsook the sanctuary o f his monastery and returned to his native Siena to offer whatever reli ef he could. At first i t seemed that the courageous Olivetans i n thei r whi t e habits wo ul d be mi raculously spared fr om the pestilence that raged all about t hem. Soon enough, however, this hope o f i mmun i t y was proved to be vai n; one o f the first monks to give up his life was their venerated abbot, Bernard Tolomei , who was later beatified. 1 The heroic, i f tragic, last days i n Bernard Tolomei's li fet i me o f good wor ks are the subject o f a pai nt i ng recently acquired by the J. Paul Getty Museum, The Blessed Bernard Tolomei Interceding for the Cessation of the Plague in Siena by Giuseppe Mar i a Crespi (fig. I ) . 2 Ni c k- named 77 Spagnuolo because o f his sober "Spani sh" style o f dress, the Bolognese Crespi (16651747) was one o f the most independent and creative personalities i n eighteenth-century Italian pai nt i ng. 3 Al one among his contemporaries, Crespi could i nterpret the pathos i n a story such as that o f Bernard Tolomei wi t h a depth and 1. Born Giovanni di Mi no Tolomei i n Siena i n 1272, Bernard Tolomei (his monastic name) and two other Sienese nobles, Patrizio Patrizi and Ambrogi o Piccolomini (one of whom may be indicated as Tolomei's companion i n Crespi's painting), founded a monastery at Monte Oliveto under the rule of Saint Benedict. As the Benedictine rule does not prescribe the color of the monastic dress, the Olivetans and the Camaldolesi wear white habits; the all-black habits of the Vallombrosiani Benedictines are perhaps the most familiar. The best available biography of Bernard Tolomei is i n the Bibliotheca sanctorum (Rome, 1969), vol. 12, s.v. Bernard is frequently styled as Saint Bernard Tolomei, which is inaccurate as he has not been canonized by the Roman Catholic church. His recognition as beato, or blessed, was already well estab- lished by tradition when i n 1644 his cult was formally recognized by papal decree. In 1680 Rome established his feast day as August 21 and approved the texts for the Office and Mass for this observance. 2. Oi l on copper. H: 42.7 cm (16 13 /i6"); W: 66.6 cm (26 V/ ) . 86.PC.463. P R O VEN A N C E: Abbot Corsi, Florence (original commission), circa 1735; gravi ty o f expression unequaled i n eighteenth-century art pri or to Goya. The Getty Museum' s recent acquisition exemplifies the drama, immediacy, and technical bravura o f Crespi's art. The wo r k is a major rediscovery for his oeuvre as wel l . I propose to i dent i fy this Blessed Bernard Tolomei wi t h a pai nt i ng that, not wi t hst andi ng its small di men- sions, was repeatedly singled out for praise by Crespi's eighteenth-century biographers but remained untraced for t wo centuries. The combi ned testimonies o f Crespi's cont empo- raries i nfor m us that i n about 1735 the artist executed a commi ssi on for an Oli vet an abbot i n Florence. The as- signment was for a pair o f Oli vet an subjects: The Blessed Bernard Tolomei Interceding for the Cessation of the Plague in Siena and a pendant o f Saint Francesca Romana Placing the Infant Christ in the Arms of Her Confessor. Pri or to the reappearance o f the Get t y Museum' s Blessed Bernard Tolomei on copper, its composi t i on had already been kno wn t hr ough the existence o f several wor kshop can- vases, none o f whi ch could clai m to be autograph wor ks fr om Crespi's o wn brush (fig. 2) . 4 The most i n - teresting o f these wor kshop variants is a canvas i n the Marchese Gino Capponi, Florence, 1767; sale, Hotel Drouot, Paris, February 7, 1945, lot 383; private collection, Switzerland; [Piero Corsini, New York, 1985-1986]. EXH IB ITIO N S : Esposizione de' quadri, cloister of the SS. Annunziata, July 1767, no. 5; Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy, Ki mbell Ar t Museum, Fort Worth, September- December, 1986. 3. The two principal works on Crespi are: Mi ra Pajes Merriman, Giuseppe Maria Crespi (Milan, 1980), a catalogue raisonne of the paint- ings, and John T. Spike, Giuseppe Maria Crespi and the Emergence of Genre Painting in Italy, ex. cat. (Fort Worth, Ki mbell Ar t Museum, 1986). The present picture was exhibited at Forth Worth hors catalogue, but was first published and illustrated i n this catalogue (p. 37, n. 89, p. 162, fig. 26.2). 4. For these workshop canvases see Merriman (supra, note 3), nos. 138141. Merriman leaves open the possibility of Crespi's par- ticipation i n some or all of these works, contrary to my own view. Pierre Rosenberg ("La Femme la puce de G. M. Crespi," La revue du Louvre, 1971, p. 14, n. 3) has wri tten that the version i n the Musee des ne nimselt contriD ute two aitarpieces to tne same Luccnese cnurcn at this very time (see Merri man [supra, note 3] , no. 66). As a pair, Closer to I/JD. Zj 'anoTTi {droria amYiccaaemicr"~^i;emwfnna[r>-viogiia;-- 1739], vol. 2, pp. 61, 64) is quite clear on the point that Crespi's 112 Spike Figure 1. G iuseppe Maria C respi (Italian, 16651747). The Blessed Bernard Tolomei Interceding for the Cessation of the Plague in Siena, circa 1735. O i l on copper. H : 42. 7 cm (16 , 3 / iO ; W : 66. 6 cm (26V4"). Mal ibu, The J . P aul G etty Museum 86. P C . 463. Akademi e der bi ldenden Kunste, Vi enna (about whi ch I shall have more to say) (fig. 3). Si mi larly, studio ver- sions o f his composi t i on o f Saint France sea Romana are kno wn (fig. 4), and one hopes that the mi ssi ng or i gi - nalseparated fr om its pendant at an unkno wn date wi l l come to l i ght some day. 5 Four references, dat i ng between 1739 and 1775, make ment i on o f Crespi's pai nt i ng o f The Blessed Bernard Tolomei. ( The Saint Francesca Romana is cited i n onl y the t wo Bolognese publications, the 1739 and 1769 bi ogra- phies o f Crespi wr i t t en by Gi ampi et ro Zanot t i and Lui gi Crespi, respectively.) Fr om these contemporary Beaux-Ar t s, Ni mes , is o nl y wo r ks ho p quali t y. Me r r i man i n di scuss- i n g the Ni me s pai nt i ng (no. 138) notes the references by Zan o t t i and L ui g i Cr espi t o a wo r k commi ssi oned by "t he Ol i vet an fathers i n Florence." Regar di ng its subject, she comment s, " What pr obabl y is represented is the b r i n g i n g o f the Euchar i st t o b o t h the plague vi c t i ms and St. Ber nar d Tol omei , wh o is pr o mi nent l y placed at t hei r side i n a kneel i ng posi t i on. " A di fferent v i e w is pr oposed i n the present arti cle. 5. Me r r i ma n (supra, not e 3) , no. 115, publi shes the phot ogr aph o f an unt r aced pai nt i ng, r epor t edl y o n copper, whi c h i n her o pi n i o n is the Saint Francesca Romana pendant ci t ed by Zano t t i . To j udge f r o m accounts, there emerges a detailed descri pti on o f the subject, size, and copper support o f The Blessed Bernard Tolomei that Crespi painted for the Oli vet an abbot i n Florence. The Getty Museum' s picture accords i n every respect wi t h these particulars and, no less i mpor t ant for this i denti fi cati on, exhibits the master's hand i n ful l measure. I n r evi ewi ng the li terary evidence, however, an i nteresti ng poi nt arises apart fr om the issue o f i dent i - fication. The sources tend to give subtly different read- ings o f Crespi's picture whi l e underscori ng bot h the rari ty o f the subject and the or i gi nali t y wi t h whi ch Crespi has i nterpreted i t . the phot ogr aph, t hi s i dent i fi cat i on mer i t s some consi der at i on, al - t ho ugh the pai nt i ng is apparent ly handl ed wi t h consi derably smoot her t ouch t han that evi nced i n the Get t y Mus e um Blessed Bernard Tolomei. A st udi o ver si on o f the Saint Francesca Romana, at t r i but ed by Me r r i - man t o L ui g i Cr espi , appeared at Chri sti e' s, Lo n d o n , Febr uar y 20, 1986, l ot 62. For the li fe o f Sai nt Francesca Romana, see the arti cle i n the Bibli- otheca Sanctorum ( Rome, 1964), vo l . 5, s.v. Thi s source cites Do nat o Cr et i ' s altarpiece, n o w i n the Santuari o del Crocefi sso dei Bi anchi i n Lucca but pai nt ed circa 1732 for the Ol i vet an chur ch o f S. Ponzi ano i n The Blessed Bernard Tolomei 113 Figure 2. A ttributed to the Workshop of G iuseppe Maria C respi. Bernard Tolomei Visiting Victims of the Plague, circa 1735. O i l on canvas. H : 44. 2 cm (17W) ; W : 67. 7 cm (26 5 /s"). N imes, Musee des B eaux-A rts. P hoto: C ourtesy Mu - sees dA rt et d'H istoire de N imes. The most authoritative account o f Crespi's life and career is that published i n 1739 by Gi ampi et ro Zanot t i , a painter and the perennial secretary o f the Accademia Clement i na i n Bologna. A li felong fri end o f Crespi, Zanot t i was able to draw upon the artist's active assis- tance i n compi l i ng his biography. Zanot t i was the first wr i t er to refer to a small pai nt i ng o f the Blessed Ber- nard Tolomei , whi ch he specifies as a recent wor k. The date o f the picture can be fixed between 1732 and 1736 since i t is si mi lar ly cited as a recent wo r k i n a late draft o f ^anb t t i ' s manuscript, whi ch was completed some- t i me between those years. 6 Zanot t i provides careful de- scriptions o f the unusual subjects o f The Blessed Bernard Tolomei and of Saint Francesca Romana. H e recently painted a small picture wit h many figures: it is the liberation of S iena from the plague through the intercession of the B lessed B ernard Tolomei; then [he made] another work as a companion to this one, in which there is S aint Francesca R omana who at the same ci ty, as the o nl y k n o wn represent at i on o f Saint Francesca Romana Placing the Infant Christ in the Arms of Her Confessor. Crespi ' s subsequent t r eat ment o f thi s rare subject is not f o r mal l y i ndebt ed t o Cret i ' s, but Cr espi undoubt edl y kn e w his colleague's pai nt i ng, since he hi ms e l f cont r i but ed t wo altarpieces t o the same Lucchese chur ch at thi s ver y t i me (see Me r r i ma n [ supra, not e 3] , no. 66) . As a pair, Crespi ' s Saint Francesca Romana and Blessed Bernard Tolomei r ep- resent i conogr aphi c solut i ons t hat wer e essenti ally unprecedent ed, and the choi ce pr esumabl y reflected the interests o f his pat r on, the Ab b o t Cor si . Figure 3. A ttributed to the Workshop of G iuseppe Maria C respi. Bernard Tolomei Visiting Victims of the Plague, circa 1735. O i l on canvas. H : 77.5 cm (30V 2 "); W : 96.5 cm ( 37 1 5 / i 6 ") . Vienna, G emal - degalerie der A kademie der bildenden Kiinste. Inv. N r. 1375. P hoto: C ourtesy A kademie der bildenden kiinste, Vienna. Figure 4. A ttributed to G iuseppe Maria C respi (Italian, 16651747). Saint Francesca Romana Placing the Infant Christ in the Arms of Her Confessor, circa 1735. O i l on copper. P resent location un- known. P hoto: C ourtesy Mira P ajesMerriman. 6. Thi s i nf o r mat i o n was k i n d l y pr ovi ded me by Professor Me r r i - man. Ab o ut Zanot t i ' s late draft for his Storia delVAccademia Clemen- tina ( Bol ogna, Bi bl i ot eca Co munal e MS . B 285) , Me r r i man (supra, not e 3) , p. 255, has wr i t t en , " [ I t ] is dated after 1732 and is pr obabl y closer t o 1735." Zan o t t i (Storia delVAccademia Clementina [ Bol ogna, 1739] , vo l . 2, pp. 61, 64) is qui t e clear o n the po i nt that Crespi ' s commi ssi ons for the Ol i vet ans i n Florence postdate his wo r ks for the Ol i vet an chur ch i n Lucca, whi c h can be dated f r o m 1732 or shor t l y thereafter. 114 Spike nighttime places the infant Jesus in the arms of her confessor. These two pictures were commissioned by the Olivetan fathers in Florence, to whom they were greatly pleasing. 7 Thi r t y years later, Crespi's son and pupi l Lui gi un- dert ook to expand upon Zanotti ' s biography. Al t hough Lui gi Crespi (17081779) was less i nfor med on his father's early career, i t is wo r t h bearing i n mi n d that he and his brothers, Ferdinando (b. 1709) and Ant oni o (b. 1712), were his father's pri nci pal assistants dur i ng the 1730s, the t i me that this commi ssi on was executed. Presumably some o f the studio versions o f these t wo Oli vet an subjects were painted by one or other o f Crespi's three sons. Lui gi Crespi had no dispute wi t h Zanotti ' s descriptions o f these t wo pai nti ngs, saying only: "The Padre Abate Corsi , Oli vet an i n Florence, owned t wo small pictures [quadretti] by hi m. " 8 As scant as this notice seems, i t helps to clarify the circumstances o f the commi ssi on and its subsequent history. Lui gi Crespi i nforms us that the assignment for these pai nt- ings o f the Blessed Bernard Tolomei and o f Saint Francesca Romana was not received fr om an Oli vet an church or monastery, as one mi ght have construed fr om Zanot t i , but rather fr om an Oli vet an abbot o f the noble Cor si fami l y o f Florence. Indeed, the i nt i mat e scale o f these pictures, thei r hori zont al format, and thei r execu- t i on on copper suggest that these wor ks were i ntended for private cont emplat i on and not for publi c display. Lui gi Crespi was evi dently aware, moreover, that by 1769 the wor ks were no longer i n the possession o f the Abate Corsi . Lui gi Crespi's accuracy on these poi nts can be ver- i fi ed fr om t wo Florenti ne sources. I n 1767, t wo years before the publi cati on o f Crespi's biography, a quadretto by Crespi ( "lo Spagnolo di Bologna") representing The Blessed Bernard Tolomei Assisting the Victims of the Plague was one o f fi ft y-ni ne pai nti ngs and sculptures that the Marchese Gi no Capponi lent fr om his private collecti on to a publi c exhi bi t i on organized i n the cloister o f SS. Annunzi at a i n Florence. 9 That the Crespi lent by the Marchese Capponi was the same as that executed some t hi r t y years before for the Abbot Corsi is confi rmed i n the last kno wn reference to this Blessed Bernard Tolomei. Thi s is a helpful footnote inserted i n the otherwi se sec- ondhand bi ography o f Crespi i ncluded i n a Florentine di cti onary o f painters, Serie degli uomini i piu illustri nella 7. Zan o t t i (supra, not e 6) , vol . 2, p. 64. 8. L ui g i Cr espi , Vite de' pittori bolognesi non descritte nella Felsina pittrice ( Rome, 1769), p. 216. 9. F. Bo r r o n i Salvadori , " Le esposi zi oni d' arte a Fi renze dal 1674 al 1767," Mitteilungen des Kunsthistorischen Institutes in Florenz 18 (1974), pp. 78, 141. pittura, scultura, e architettura..., completed i n 1775. Thi s reference supplies all the mi ssi ng connectives i n the provenance and is the onl y early source that specifies the copper support o f the pai nt i ng and its size (a braccio, or arm length, r oughly t wo feet long) . It also provides st i l l a t hi r d suggestion for the painting' s subject matter. N ot of less excellence than every one of his perfect works was a painting on copper of about a braccio in breadth, that he made for a Padre Olivetan A bbot, rep- resenting the Blessed Bernard Tolomei administering the Eucharist to the plague stricken. This beautiful work of his can be seen at present in Florence in the palace of Marchese Capponi on the via Larga. 10 Three o f the four early sources give a ti tle for Crespi's picture describing Bernard Tolomei among the vi ct i ms o f the plague but cannot quite agree as to the event that is actually depicted. The pr i mar y source, o f course, is the pai nt i ng itself. The central action is the confronta- t i on between a procession that enters fr om the left o f the picture and, at ri ght, t wo monks i n whi t e Oli vet an habits who are seen i n the mi dst o f a cr owd o f gri ev- i ng, dyi ng people. At center, i n the distance, an angel is seen ascending to Heaven. The procession is led by an acolyte who carries a bell and a l ong candle. He is followed by a man who has wrapped his cloak around himself, coveri ng his arms. Behi nd this figure, a r ound canopy is held aloft. Thi s canopy has the ap- pearance o f a baldachin, whi ch mi ght have been used to cover the Host or perhaps a sacred relic i n an open-air procession. It is notable, t hough, that Crespi has not i ncluded i n his picture any image o f a monstrance con- t ai ni ng the Host, but the question remains open as to whether such is carried by the man whose hands are hi dden by his cloak. One o f the t wo Olivetans kneels i n prayer before this solemn procession; the more pr omi nent monk is Ber- nard Tolomei , who holds one o f his attributes, a cr u- ci fi x, 1 1 i n his ri ght hand, and gestures t oward the popu- lace wi t h his left. Cont r ar y to the report o f 1775, the pai nt i ng clearly does not represent the Oli vet an abbot admi ni st eri ng Co mmun i o n to the plague stricken. That Bernard Tolomei is "assisting" the people o f Siena (as described i n the 1767 Capponi exhi bi t i on catalogue) is undeniable, but this is too general a descri pti on for the event represented i n Crespi's pai nti ng. The r emai ni ng possibility, whi ch was ori gi nally sug- 10. " N o n di mi n o r eccellenza ri esci di qual unque pi u perfetta sua un quadr o i n rame di larghezza circa un bracci o, che egli fece per un P. Abat e Ol i vet ano, rappresentante i l Beat o Ber nar do Tol omei , che c o m- uni ca gl i appestati. Quest o suo bel lavor o vedesi al presente i n Fi renze nel palazzo del Marchese Cappo ni di vi a Larga." Thi s passage is quot ed f r o m the Serie degli uomini i piu illustri nella pittura, scultura, e The Blessed Bernard Tolomei 115 Figure 5. Domeni co Mar i a Canut i (16261684). Bernard Tolomei Assisting the Plague Stricken, circa 1660s. O i l on canvas. H: 266 c m ( 1047/ ) ; W: 174 c m ( 68 1 / / ) . Padua, Museo Ci vi co. Phot o: Cour t esy Museo Ci vi co, Padua. gested by Zanot t i , is that Crespi has portrayed the Blessed Bernard Tolomei i n the act o f i ntercedi ng for the cessation o f the plague. A pr el i mi nar y search, by no means exhaustive, has failed to uncover any other pai nt- ings o f this subject. One should note at this j unct ur e that the i conography o f Bernard Tolomei is not exten- sive, appearing almost exclusively i n altarpieces and decorations executed for Oli vet an churches and i nst i t u- tions. It is o f course consistent wi t h this pattern o f pa- tronage that the Get t y Museum pai nt i ng was commi s- sioned by an Oli vet an abbot, and i t is not surpri si ng that early commentators were unsure o f Crespi's exact subject. I n the 1660s Domeni co Mari a Canuti (16261684), architettura... (Florence, 1775), vol. 12, p. 143, n. 1. 11. Domenico Maria Canuti portrayed hi m wi t h a crucifix i n an altarpiece, The Blessed Bernard Tolomei in Prayer, of the 1670s for the Roman church of S. Francesca Romana. In Crespi's picture, the ladder seen against the city wall i n the distance is another attribute of Bernard Tolomei, alluding to the abbot's famous vision of Figure 6. Car l o Ci gnani (Itali an, 16281719). Pope Saint Gregory the Great Interceding for the Cessa- tion of the Plague in Rome, circa 1660s. Fresco. Bologna, monast ery o f S. Mi chel e i n Bosco. Phot o: Court esy Mi ni st er o per i Beni Cul - t ur al i e Amb i ent al i di Bologna. who was Crespi's master t went y years later, pai nted a large altarpiece o f Bernard Tolomei br i ngi ng some sup- plies to the plague stricken ( i n other words, "assisting" them) for an Oli vet an church i n Padua, but Canuti's interpretation was entirely different fr om that i n Crespi's li t t le picture (fig. 5) . 1 2 I believe that Zanotti ' s i nterpretati on o f Crespi's pi c- ture was correct, and that I have located the source for Crespi's i magery i n a wo r k wel l kn o wn to h i m and, indeed, very close to home. I refer to one o f the cele- brated medallions that Carlo Ci gnani pai nted i n fresco dur i ng the 1660s i n the Oli vet an monastery o f S. Mi chele i n Bosco, Bologna. 1 3 The leading painter i n Olivetan monks ascending a ladder to heaven. 12. See R. Roli, Pittura bolognese 1650-1800: Dal Cignani ai Gandolfi (Bologna, 1977), s.v. "Canuti." 13. For photographs of all four frescoes, see C. C. Malvasia, Le pitture di Bologna (1686), reprint, ed. A. Emi li ani (Bologna, 1969), figs. 327/11. For Cignani, see Roli (supra, note 12), s.v. 116 Spike Bologna dur i ng the latter hal f o f the century, Ci gnani (16281719) was called upon to pai nt four apparitions o f the Archangel Mi chael i n circular composi ti ons sur- rounded by elaborate cartouches. One o f these frescoes depicts Bernard Tolomei's famous vi si on o f the Ar c h- angel Mi chael, but this subject was not perti nent to Crespi's plague scene. Di r ect l y to the poi nt , however, was Cignani' s fresco o f Pope Saint Gregory the Great In- terceding for the Cessation of the Plague in Rome (fig. 6). Thi s composi t i on contains, i n mi r r o r image, the essen- t i al elements o f Crespi's picture. The foreground is fi lled wi t h plague vi ct i ms; at left, Pope Gregory (circa 540604) addresses a taper-bearing procession o f peni - tents, whi c h enters fr om the ri ght -hand side. I n the center, the Archangel Mi chael, the object o f Gregory's intercession, replaces his retri buti ve sword o f pestilence and ascends to Heaven, his deadly wo r k completed. Since i t is kn o wn that Gregory the Great tirelessly organized peni tenti al processions as part o f his efforts to relieve a si xt h-cent ury plague i n Rome, 1 4 we can assume that this is the ki nd o f procession that Ci gnani and Crespi, fol l owi ng the former's example seventy years later, have represented. I n the studio version o f Crespi's composi t i on i n Vi enna (fig. 3), the bel l -t ol l i ng acolyte is replaced by a fearsome skeletonan emblem o f death that could not seemingly be substituted i n a procession i f its purpose were to br i ng the Eucharist to the plague stricken. A correlati on to the i conography o f Saint Charles Bor r omeo is perhaps i llustrati ve here. Fol l owi ng his canoni zati on i n 1610, the role o f Saint Charles Bor - romeo as intercessor for the reli ef o f the plague o f 15751576 very soon came to the fore o f his devoti onal iconography. I n an altarpiece o f circa 1615 (Verona, S. Carlo) , Pietro Bernardi represented the saint di rect i ng his prayers to an angel who holds out a skull, emblem o f the plague's devastation. Crespi's pai nt i ng o f the Blessed Bernard Tolomei thus i nt roduced a novel theme i nt o the i conography o f the Blessed Bernard Tolomei , that o f di vi ne intercessor. At the center o f Crespi's composi t i on, the Archangel departs, si gnali ng that t hr ough Bernard Tolomei's i nt er- vent i on, the plague wi l l now recede. Thus, Crespi (and presumably the Abbot Corsi , his patron) has deli ber- ately dr awn a parallel to one o f the most saintly actions o f Saint Charles Borromeo, who exposed hi msel f t o terrible dangers dur i ng the plague o f 15751576. Crespi's i nt erpret at i on thereby constitutes an emphatic clai m for the sanctity o f the Oli vet an founder, whose candidacy for canoni zati on was debated at various ti mes dur i ng the mi d-ei ght eent h century. Ne w Yor k 14. J. N. D. Kelly, The Oxford Dictionary of Popes (Oxford, 1986), p. 66. A Roman Masterpiece by Hubert Robert: A Hermit Praying in the Ruins of a Roman Temple Victor Carlson The J. Paul Get t y Museum has recently acquired a masterful pai nt i ng by Huber t Robert (17331808), whi ch constitutes a significant addi t i on to the Mu - seum's gr owi ng collecti on o f wor ks o f art fr om the lat- ter hal f o f the eighteenth century (fig. 1). The canvas is a fully characteristic example o f Robert's fascination wi t h the ruins o f ancient Romea subject matter that has always been synonymous wi t h the artist's reputati on. The Museum' s oi l shows a her mi t at prayer i n the ruins o f a Roman temple, kneeli ng at the foot o f a stone altar upon whi ch are placed a cruci fi x, books, an open Bi ble, an hourglass, a skull, and a rosary. Absorbed i n his devotions, he is obli vi ous to three young girls enteri ng the temple at the far ri ght. One o f t hem is about to make o f f wi t h some flowers fr om a vase that is placed on a fragment o f antique sculpture used as an altar. Above this i mpr ovi sed altar hangs a picture o f the Madonna and Chi l d. I n the mi dgr ound a four t h gi r l on a ladder leans over a l o w wal l and, usi ng a l ong reed, attempts to distract the her mi t fr om his prayers and alert h i m to the t r i o stealing the floral offeri ng. The loft y barrel vault o f the abandoned temple wher ei n these actions occur spans a very deep space. Double rows o f columns wi t h Cor i nt hi an capitals support the vault, but the monument' s neglected condi t i on belies its ori gi nal grandeur and i mportance. 1 Robert disposed his l i ght i ng effects wi t h unac- customed thoughtfulness to enhance the i mpact o f this scene. A shaft o f sunli ght penetrates the d i m i nt eri or o f the temple, streami ng t hr ough the columns and the open door at the r i ght to i l l umi nat e the figure o f the kneeli ng her mi t ; at the same t i me, a small oi l lamp 1. Oi l on canvas. H: 58 cm (22 1 3 /i 6 "); W: 70.5 cm (27 3 A"). Signed: ROBERT'/FECIT7FIO...NT'/PORT...176-. Mali bu, TheJ. Paul Getty Museum 86. PA.605. P R O VEN A N C E: Louis Francois de Bourbon, prince de Conti , 1777 (sale, Paris, Apr i l 8June 6, 1777, lot 752); Desmarets; Prince Pyotr Ivanovitch Tufialkin, Paris, 1845 (sale, Paris, May 23, 1845, lot 65); private collection, Paris, 1892 (sale, Galerie Sedelmeyer, Paris, March 25, 1892, lot 53); Georges Berger, Paris; Georges Wildenstein, Paris, by 1933. EXH IB ITIO N S : Exposition Hubert Robert, Musee de l'Orangerie, Paris, bur ni ng i n front o f the i mage o f the Vi r g i n directs at- t ent i on to the i mpendi ng theft. Behi nd the fragment o f stone wal l i n the mi dgr ound, a faint i l l umi nat i on sug- gests l i ght comi ng t hr ough the far end o f the temple, rei nforci ng the i mpressi on o f the monument' s vast and loft y dimensions. To convey these l i ght i ng effects i n a convi nci ng manner, Robert wor ked wi t h a fluid, rapid application o f paint, creating a ri ch and li vely pi ctori al surface executed wi t h consummate assurance. A variety o f brushstrokes and densities o f pai nt define the gamut o f atmospheric effects, fr om the dusky recesses o f the temple to the br i ght l y l i t sky outside. Hi ghl i ght s were added wi t h flicks or t i ny dabs o f the brush produci ng the sci nt i llat i ng play o f l i ght over forms, whi ch is one o f the work' s most attractive features. On one level Robert painted a charmi ng, i f somewhat frivolous, drama i n whi ch the i ntensi ty o f the hermit' s religious absorpti on is contrasted wi t h the vi ol at i on o f his sanctuary by the young girls at t empt i ng to steal the Vi rgi n' s floral tri bute. To the eighteenth-century viewer, however, the dilapidated condi t i on o f the temple surely wo ul d have conveyed a mor ali zi ng lesson as wel l , re- calli ng the transience o f the power and vani ty that or i g- i nally caused such an i mposi ng structure to be bui lt . Thi s i nterpretati on is reinforced by the hourglass and skull on the altar, conventi onal allusions to the t em- porali t y o f man and his endeavors. To understand more ful l y the significance o f Robert's wor k, the pai nt i ng must be placed i n the larger context o f his art and his cont r i but i on to the development o f French pai nt i ng dur i ng the latter hal f o f the eighteenth century. Because the figures i n Robert's canvas act out a dra- 1933, no. 2 (catalogue by C. Sterling). B IB L IO G R A P H Y : Pierre de Nolhac, Hubert Robert 1733-1808 (Paris, 1910), p. 98; G. Isarlo, "Hubert Robert," Connaissance des arts, no. 18 (August 15, 1953), p. 28; H. Burda, Die Ruine in den Bildern Hubert Roberts (Munich, 1967), p. 80, n. 359, fig. 94; M. Beau, La collection des dessins d'Hubert Robert au Musee de Valence (Lyons, 1968), no. 76, n.p.; Andre Corboz, Peinture militante et architecture revolutionnaire: A propos du theme du tunnel chez Hubert Robert (Basel and Stuttgart, 1978), p. 16, fig. 13; J. de Cayeux [ Cailleux] , Les Hubert Robert de la collection Veyrenc au Musee de Valence (Valence, 1985), no. 44, p. 186. 118 Carlson Figure 1. Huber t Robert (French, 17331808). A Hermit Praying in the Ruins of a Roman Temple, circa 1760. O i l o n canvas. H: 58 c m ( 22 3 / / ) ; W: 70.5 c m ( 27 3 / 4 ") . Mal i b u, The J. Paul Get t y Mus eum 86.PA.605. mati c si tuati on, i t is t empt i ng to l ook for a li terary source to explai n thei r actions. Al t ho ugh i t has not been possible t o determi ne that the artist i ntended to i l l us- trate the wo r k o f a specific author, the si tuati on repre- sented recalls i n a general way the Contes et nouvelles en vers (16641674) o f Jean de La Fontaine, whose stories often i nvolved the clergy i n ri di culous or salacious situations. The Contes et nouvelles en vers were st i l l frequently read at this t i me, as evidenced by the numer - ous re-editions that appeared dur i ng the mi ddl e o f the 2. See the artist's Frere Luce, 1742 (Moscow, Pushkin Museum 2765); The Metropolitan Museum of Ar t , New York, The Detroit Institute of Arts, and Reunion des Musees Nationaux, Paris, Frangois Boucher, 1703-1770, ex. cat. (New York, 1986), no. 45, i l l . 3. The figures of the Getty painting occur i n other canvases or drawings by or attributed to Robert; all works cited are vertical i n format. The five personages are found i n a pen and watercolor draw- eighteenth century. O n occasion these stories di d provi de subject matter for pai nti ngs by artists such as Francois Boucher. 2 Whet her or not Robert based the Get t y pai nt i ng on a specific li terary wor k, he arranged the figures to create an allegory contrasti ng vi r t ue wi t h vice or dut y wi t h pleasure, a moral theme that recurs i n each o f the artists variants o f this composi t i on. Robert's li ghthearted treat- ment o f the scene is not necessarily a reflection o f his lack o f reli gi ous faith; our knowledge o f the painter's ing, done over a highly finished chalk drawing, recently on the Paris art market. The watercolor is probably a later addition, just as the very mechanical, uninflected chalk study suggests that the entire work is likely a copy by another hand ( H: 41 cm [ 16 3 / i 6 "] ; W: 30 cm [ U 1 3 / i 6 " ] ; sale, Nouveau Drouot, Paris, June 18, 1986, lot 221, i l l . ) . Closely related to this drawing is another watercolor of identical composition, but i n reverse and of larger dimensions, dated 1786 ( H: 53 cm [20 7 /s"]; A Roman Masterpiece 119 Figure 2. Huber t Robert (French, 1733-1808). The Her- mit in the Colosseum, 1790. O i l on canvas. H: 57 c m ( 22 7 / i 6" ) ; W: 49 c m ( 19 1 / / ) . For mer l y Lucerne, Galerie Fischer; present l ocat i on unkno wn. private thoughts is t oo slight to support such an as- sumpt i on. I n this connecti on, i t may be noted, however, that the gl owi ng reports to Paris o f Robert's progress as a student i n Romewhere the Get t y canvas was pai nt edwoul d surely have been modi fi ed had he been derelict i n observi ng religious obligations. Such infractions were considered serious matters, whi ch could compromi se a student's standing at the academy; on the other hand, the mere observance o f such forms cannot be considered evidence o f personal beliefs. There are no preparatory drawi ngs kno wn for the Get t y pai nt i ng. It is very probable, however, that the artist had studies for the figures at hand, as they are painted wi t h an uncharacteristic attenti on to detail and gesture. Robert was never a confident figure draughts- W: 37 cm [ 14 9 / i 6"] ; sale Galerie Charpentier, Paris, December 2, 1958, lot 114, illus.). This watercolor is very similar to an oi l signed and dated 1790, the major difference being that the background of the painting is loosely based on the interior of the Colosseum ( H: 57 cm [ 22 7 / i 6"] ; W: 49 cm [1974"]; sale, Galerie Fischer, Lucerne, August 1820, 1931, lot 295, i l l . ) . Another painting is known, the composi- tion i n reverse to the 1790 version, wi t h only three figures and many Figure 3. Huber t Robert (French, 1733-1808). The Temptation of the Hermit, circa 1787. Oi l on canvas. H: 59.7 c m ( 23V 2 ") ; W: 50.2 c m ( 19W) . Present l ocat i on unkno wn. Phot o: Court esy Fondat i on Wi l denst ei n, Paris. man, consequently he must have studied i n advance the most effective di sposi ti on o f the figures to relate the dramatic i nci dent. Technical exami nat i on by the Mu - seum's conservation staff has lent further credence to this assumpti on by establishing that no significant changes were made dur i ng the executi on o f the wor k. These figures occur i n several other drawi ngs and pai nt - ings by or attri buted to Robert and an aquatint by J. B. Mor r et (figs. 24). Each o f the related works, however, differs substantially fr om the present canvas either i n the setti ng or the number o f figures employed. Chr ono- logi cally the Get t y pai nt i ng is the earliest use o f this subject matter, whi ch Robert referred to occasionally unt i l 1790, the date o f the last kno wn representation. 3 The present canvas is signed and dated, although the changes i n the background details, which are also derived from the interior of the Colosseum (Collection of Count Leonardo Vi tetti ; see Marguerite Beau, La collection des dessins d'Hubert Robert au Musee de Valence [ Lyon, 1968], no. 12, fig. 12b). Also related i n a general way to the subject of the Getty work is an undated color aquatint by J. B. Morret (active circa 17901820), i n- scribed Tandis que cet Hermite est en priere, deux jeunes files viennent lui 120 Carlson Figure 4. J. B. Mo r r et (French, active circa 1790-1820). Tandis que cet Hermite est en priere deux jeunes filles viennent lui derober les fleurs qui sont devant sa Madone, circa 1790. Aquat i nt . H: 36.7 c m (147i 6 "); W: 29.8 c m ( U W) . Ne w Yor k, Paul Mc Car r o n. Phot o: Court esy Paul Mc Car r o n. last di gi t o f the date, 176, is now i llegi ble. Nonet he- less, i t can be proposed that this wo r k was executed i n Rome about 1760, by compari son to a dr awi ng i n the Louvr e signed and dated fr om that year (fig. 5) . 4 The Paris red chalk dr awi ng shows a group o f laundresses at wo r k ami d the rui ns o f an antique Roman temple. The general arrangement o f the architectural setti ng is st r i k- i ngl y si mi lar to the Get t y canvas. Bo t h composi ti ons are domi nat ed by a steeply raked barrel vault, supported derober les fleurs qui sont devant sa Madone ( H: 36.7 cm [14 7 / i6 w ] ; W: 29.8 cm [11 3 A "]; Roger Portalis and Henri Beraldi, Les Graveurs du dix- huitieme siede [Paris, 1881], vol. 1, s.v. "Descourtis," no. 7, p. 747). The print is based on a painting at one time wi t h Cailleux, Paris ( H: 46 cm [18Vs"]; W: 49 cm [ l W ] ; Galerie Cailleux, Paris, Autour de neo- classicisme, ex. cat. [Paris, 1973], no. 44, p. 45). The same gallery also had a Robert red chalk drawing wi t h only three figures, showing two girls making off wi t h something taken from a cupboard ( H: 27.3 cm [10 3 //] ; W: 19.2 cm [77i6 w ]; ibid., no. 44, p. 45, i l l . ) . The figure group i n the undated drawing occurs wi t h only mi nor changes i n a painting The Temptation of the Hermit, circa 1787 ( H: 59.7 cm [23V/] ; W: 50. 2 cm [1974"]; present location unknown, formerly wi t h Wildenstein, Paris). Three other paintings are mentioned i n the literature, some of which on either side by a l ong range o f columns. A device placed i n the center o f the mi dgr oundt he cr umbl i ng stone wal l behi nd the her mi t i n the Get t y pai nt i ng, some laundry stretched out to dr y i n the dr awi ng arrests the movement o f the viewer's eye, di rect i ng at- t ent i on to the figure groups. At the left i n bot h works, a col umn runs nearly the ful l hei ght o f the composi t i on. Thi s device seems to suggest that Robert was not en- t i r ely comfortable wi t h the hori zont al format and needed some element to compress the space and thereby emphasize the i mportance o f the fi gure group. De- spite this, the figures remai n domi nat ed by the dra- mati c architectural setti ng wi t h its exaggeratedly deep, t unnel-li ke space. These parallels are so essential to the organi zati on o f the pai nt i ng and the dr awi ng that they cannot be explained satisfactorily as si mply unre- lated coincidences. There is no precise source for the rui ned Roman temple seen i n the Get t y pai nt i ng. Such examples o f i mper i al Roman architecture as were kn o wn i n the mi d - eighteenth century could not i n themselves account for the structure shown here. At this t i me even the most as- siduous student o f Rome's past wo ul d have had onl y a fragmentary sense o f ancient architectural styles and constructi on practices. Excavations on a sufficient scale to reveal ful l y this accompli shment were yet to be un- dertaken, alt hough monument s such as the Colosseum and the Pantheon were then, as they st i l l are, i mposi ng examples o f Rome's architectural heritage. Robert's con- temporaries often created thei r o wn evocations o f Rome's lost grandeur, at ti mes based more on i magi na- t i on than archaeology. For example, i t is enti rely possi- ble that Robert knew Piranesi's 1743 engravi ng Vestibolo d } antico tempio, a fanciful evocation o f an i mmense and impressive barrel-vaulted structure wi t h an exaggerated perspective leading the eye far back i nt o space (fig. 6) . 5 Consequently, Robert's vi si on o f i mper i al Rome as seen i n wor ks such as the Get t y pai nt i ng is perhaps best explained as an amalgam o f such archaeological data as was then available, fi ltered t hr ough the i mpressi on may be identical to the works cited above: Pierre de Nolhac, Hubert Robert, 1733-1808 (Paris, 1910), pp. 95-96, 121; Claude Gabillot, Hubert Robert et son temps (Paris, 1895), no. 243, p. 251. 4. Red chalk over black chalk. H: 52 cm (207/'); W: 63. 8 cm (25Vs"). Signed: H ROBERT I/1760/D. ROMAE. Paris, Musee du Louvre, Cabinet des Dessins R.F. 14791; see Marie-Catherine Sahut, Les dossiers du Departement des Peintures: Le Louvre d'Hubert Robert, ex. cat. (Musee du Louvre, Paris, 1979), p. 23, fig. 48. 5. Andrew Robison, Piranesi, Early Architectural Fantasies: A Cata- logue Raisonne of the Etchings (Washington, D.C., National Gallery of Ar t and Chicago and London, The University of Chicago Press, 1986), no. 11, i l l . A Roman Masterpiece 121 Figure 6. Gi ambat t i st a Piranesi (Itali an, 17201778). Vestibolo d'antico tempio f r o m Prima parte di architetture..., 1743. Engr avi ng. H: 25.7 c m (107s"); W: 35.6 c m (14"). Santa Moni ca, The Get t y Center for the Hi st or y o f Ar t and the Humani t i es, Li br ar y 401R MU Z . Figure 5. Huber t Robert (French, 1733-1808). Galerie, 1760. Red chalk over black chalk. H: 52 c m ( 207 2 ") ; W: 63.8 c m ( 25V 8 ") . Paris, Musee du Louvr e, Cabi net des Dessins R.F. 14791. 122 Carlson made on the artist by the i mposi ng monument s o f Rome's more recent past. 6 Also i nfluenti al were the who l l y fanciful conceits o f contemporary artists such as Piranesi or Robert's compatri ots Clerisseau and Challe, each o f wh o m used the vestiges o f Rome's i mper i al heritage t o evoke the magnificence o f that vanished ci v- i li zat i on, then k n o wn onl y t hr ough some scant but power fully movi ng remains. The decade o f the 1760s was the crucial, formati ve phase o f the artist's early career, a peri od di vi ded be- t ween Rome and later Paris. Li ke many French artists, Robert received much o f his t r ai ni ng at the Academi e de France Rome, then housed i n the Palazzo Manci ni on the Corso rather than its present locat i on i n the Vi l l a Medi ci . No r mal l y admi ssi on to the Academi e was l i m- i ted to Pr i x de Rome wi nners, who before leaving for Rome fi rst spent some t i me perfecting thei r skills at the Ecole Royale des Eleves Proteges. I n thei r 1777 essay on the Academie, Deni s Di der ot and Jean d' Alembert discuss the i mportance o f study i n Rome for the young artist. Young Fr enchmen who i nt ended t o study the fine arts had t o go t o Rome and r emai n there for a fai r ly l ong t i me. Thi s is wher e the wor ks o f artists l i ke Mi chelangelo, Vi gnol a, Domeni chi no, Raphael, and those o f the ancient Greeks gi ve silent lessons muc h superior to those that coul d be gi ven by our greatest moder n masters. . . . For artists, I t aly is t r ul y a classical wo r l d. Ever yt hi ng there attracts the painter's eye, ev- er yt hi ng teaches hi m, ever yt hi ng arouses his at t ent i on. Asi de f r o m moder n statues, what a great number o f ancient ones are contai ned wi t h i n the walls o f magni fi - cent Rome; these ancient statues by the exact pr opor - t i o n and the elegant vari et y o f t hei r forms served as models for the artists o f recent peri ods and must serve as models for those o f all centuries! 7 It is possible that before leaving for Italy i n 1754 Robert had some knowledge o f and enthusiasm for the classical past. I n France at the t i me a reaction had begun to what some critics described as the over wr ought orna- ment at i on and fantasy o f the rocaille. Two articles by Charles-Nicolas Cochi n, wr i t t en 17541755, together wi t h his descri pti on o f the Marqui s de Mari gny' s voy- age to Italy (17491751)undertaken wi t h the author i n attendanceare often considered t ur ni ng poi nts for the 6. The Getty's painting is reproduced by Andre Corboz i n Peinture militante et architecture revolutionnaire: A propos du theme du tunnel chez Hubert Robert (Basel and Stuttgart, 1978), p. 16, fig. 13. This important study traces many parallels between the architectural backgrounds of Robert's paintings and current advanced architectural theory and prac- tice i n France, whi ch advocated a severe columnar architecture based on antique prototypes for use i n public buildings. Corboz's arguments i nt r oduct i on o f Neoclassicism as an alternative to the Rococo style. They are not, however, the earliest ex- pressions o f dissatisfaction wi t h current taste. 8 At Paris the designers o f decorative arts, rather than the painters, led the vanguard o f those i nspi red by classical sources. Al t hough no wor ks by Robert fr om his early years o f study i n the French capital have been i denti fi ed, i t is conceivable that he was aware o f this opposi t i on to the populari t y o f the Rococo; his first recorded teacher, Rene-Mi chel Slodtz, called Mi chel -Ange Slodtz, was a sculptor whose wor ks at times evidence a knowledge o f classical models. Robert's entry i nt o the Academi e de France di d not fol l ow the usual course, as he never competed for the Pr i x de Rome. Instead, his place at the Academi e was secured at the request o f a collector and patron, Etienne-Francois de Choi seul, comte de Stai nvi lle and later the due de Choi seul. Thr ough adroi t ly applied pressure, i n 1754 Robert was allowed to li ve at the Aca- demie as an independent student whose expenses were paid i ni t i al l y by Choi seul. Such ci rcumvent i ons o f nor - mal procedure were most exceptional, and Charles Natoi re, then director o f the school, was insistent that the artist confor m to the same regulations and courses o f study as the other students. Choiseul's confidence i n his protege was confi rmed by Robert's studious be- havior, his rapi d progress, and the impressive quali ty o f his wor k. Thus when a place became vacant as a regular member, or pensionnaire, at the Academie, i t was awarded to h i m on Natoire's strong recommendati on. The French student remained at the Palazzo Manc i ni unt i l the end o f October 1763, when his t er m expired. However, other means o f support enabled Robert to stay i n Rome unt i l July 24, 1765, when he left to ret urn to France. 9 Dur i ng these years t wo Italian artists played domi nant roles i n the for mat i on o f Robert's style. Amo n g fellow artists, the single most decisive contact Robert made i n Rome was his friendship wi t h Gi ovanni Paolo Pani ni , who gave lessons i n perspective at the Academie. The Italian's decoratively arranged composi - tions o f antique and moder n Roman monument s provi ded a model that Robert adopted and modi fi ed as his own, usi ng i t for the rest o f his life. Perhaps the most t el l i ng evidence o f Robert's admi r at i on for his teacher is the collecti on o f more than t went y-fi ve Pani ni are certainly i llumi nati ng for Robert's work from the 1770s onward; however, there is no clear evidence that as a student i n Rome the artist was aware of such trends. I am indebted to Christopher Riopelle, Assistant Curator of Paintings, The J. Paul Getty Museum, for bri ng- ing the Corboz article to my attention. 7. Denis Diderot and Jean d'Alembert, Encyclopedie (Paris, 1777), pp. 238239 (my translation). A Roman Masterpiece 123 oils that were part o f the French artist's estate. Robert also knew Piranesi, whose pr i nt maki ng wor kshop on the Corso was di rectly across fr om the Academie. The i mpr i nt made on Robert by Piranesi's grandi loquent and megalomanic visions o f Rome is more di ffi cult to assess because Robert never wor ked i n an overtly Pi - ranesian manner, although certain drawi ngs may wel l owe somet hi ng to the Italian artist's wonder fully evoca- tive and rapi dly executed i nk studies. To be sure, Robert's contacts at Rome extended beyond these t wo artists, but thei r example was pervasive and inescapable. The archaeological cli mate at Rome dur i ng the 1750s and 1760s was parti cularly st i mulat i ng, not least because excavations undertaken at Pompei i i n 1738 and Her - culaneum i n 1748 brought to l i ght startli ng traces o f an unsuspected ci vi li zat i on o f great accomplishment. As knowledge o f these discoveries spread across Europe, Rome became more than ever an antiquarians mecca. Amo n g the notable archaeological publications issued dur i ng Robert's student years i n Rome was Piranesi's Delia magnificenza ed architettura de' Romani (1762), a di a- tribe champi oni ng the superi ori ty o f Etruscan and Ro- man architecture over that o f Greece. Robert must have been aware o f this treatise since he is kno wn to have been i n contact wi t h its author at this t i me. The Ger- man philosopher and archaeologist Johann Joachi m Wi nckel mann was also i n Rome wr i t i n g his An- merkungen ber die Baukunst der Alten (1762) wi t h its de- scri pti on o f the temples at Paestum and his more fa- mous account o f Greek art Geschichte der Kunst des Altertums (1764). Even t hough there is no evidence that Robert ever read the German treatises, thei r publi cat i on signals the cli mate o f i nqui r y and speculation that was occurri ng t hr oughout Rome. It remains unclear to what extent the students at the Academi e de France knew the flood o f i nternati onal visitors to the city, although i t is hard to believe that the sociable Frenchman wo ul d have remained aloof fr om t hem. Cert ai nly Robert saw at first hand the recovery o f Rome's classical past, not onl y the monument s i n the ci ty and the surroundi ng countryside, but remains as far afield as Naples ( wi t h side trips to Pompei i , Her - culaneum, and Pozzuoli) and Florence; the latter voyage was made quite l i kel y i n the company o f Piranesi. 1 0 These br i ef remarks do not fully describe the artist's 8. For a discussion of this subject, see Svend Eriksen, Early Neo- Classicism in France (London, 1974), pp. 2951. See pp. 3436 for a discussion of Cochin's texts. 9. For a summary of Robert's years i n Rome, see Gabillot (supra, note 3), pp. 7091, and Victor Carlson, Hubert Robert: Drawings and Watercolors, ex. cat. (Washington, D.C., National Gallery of Art , 1978), pp. 20-21. kno wn activities and contacts among the antiquarians at Rome, but they do serve to indicate some o f the attrac- tions that i mpel l ed h i m to remai n there after his t er m at the Academi e expired. Wi t hi n a year after his arrival i n Paris, Robert was received as a member o f the Academi e Royale de Pei n- ture et de Sculpture on July 26, 1766. Hi s reception piece, an i magi nar y vi ew o f the Porto di Ripetta at Rome, was war ml y praised by Di der ot when i t was exhi bi ted at the Paris salon the fol l owi ng year (although not wi t hout some reservations, parti cularly concerni ng the artist's figures). Not wi t hst andi ng these mi nor cav- ils, Robert's pai nt i ng i nspi red Diderot' s often cited anal- ysis o f his o wn fascination wi t h ruins, an enthusiastic out pour i ng that vi vi dl y captures the period's deli ght i n this subject matter. The ideas aroused wi t hi n me by rui ns are lofty. Ever y- t hi ng vanishes, ever yt hi ng perishes, ever yt hi ng passes away, the wo r l d alone remains, t i me alone continues. Ho w ol d this wo r l d is! I wal k between t wo eternities. Wherever I t ur n my eyes, the objects that sur r ound me foretell an end and help me resign mysel f t o the one that awaits me. What is my ephemeral existence c o m- pared t o that o f this r ock er odi ng away, o f this vale gr o wi ng deeper, o f this forest staggeri ng wi t h age, o f these masses hangi ng above my head and shaking? I see the marble o f t ombs cr umbl i ng i nt o dust, and I do not want to die! An d I am reluctant t o give a mere tissue o f fibres and flesh t o a general law that affects even bronze! A t orrent sweeps nati ons pel l -mel l d o wn i nt o the same abyss, and I , I alone cl ai m t o be able t o stop on the edge and t o wi t hst and the current gushi ng by me! 1 1 The generally favorable support o f this most i nfluenti al critic effectively set the stage for Robert's succeeding decades o f success and favorable acclaim, even i f fr om t i me to t i me Di der ot was sharply critical o f the artist's tendency to be overly facile and careless i n the execu- t i on o f his paintings. When Robert left Rome i n 1765, he was i n ful l com- mand o f a subject matter and style that he wo ul d use wi t hout radical modi fi cat i on for the remainder o f his career. The attraction o f his vi ews o f Rome's past was never dr yl y archaeological; Di der ot noted this i n his revi ew o f the Paris Salon o f 1767, praising the verve and spi ri t wi t h whi ch the artist painted or drew his scenes 10. Vi lla Medici Rome, Palais des Etats de Bourgogne Di jon, and Hotel de Sully Paris, Piranese et les Francais (Rome, 1976), p. 305. 11. Denis Diderot, "Le Salon de 1767," i n Diderot: Salons, ed. Jean Seznec and Jean Adhemar (Oxford, 1975), vol. 3, pp. 228229 (my translation). 124 Carlson o f Roman ruins, qualities that the cri ti c admi red be- cause they left r o o m for the play o f the viewer's i mag- i nat i on. The grandeur and magnificence o f the artist's concepti on o f rui ns (to bor r ow Di derot' s adjectives), expressed t hr ough a vi vi d and assured technique, were for the cri ti c parti cularly appealing facets o f the artist's genius. These are precisely the outstandi ng charac- teristics o f the Get t y pai nt i ng, whi ch Di der ot surely wo ul d have described as one o f Robert's most attrac- tive canvases. Los Angeles Count y Museum o f Ar t What the Greeks were, was a reality, not a promi se. Shelley True Illusions: Early Photographs of Athens Andrew Szegedy-Maszak One o f the most i mpor t ant features o f the i ntellectual life o f the mi d-ni net eent h century was an upsurge o f interest i n ancient Greece. Al t hough there have recently been t wo very good books on the influence o f Greek culture on Vi ct or i an li fe, 1 neither o f t hem so much as menti ons photography, and this omi ssi on i nspi red the present essay. The ti tle originates i n a revi ew by Wi l l i am Hazl i t t o f some watercolors by Hug h Wi l l i am "Greci an" Wi l l i ams: "Some splenetic travellers have pretended that At t i ca was dry, flat and barren. But i t is not so i n Mr . Wi lli ams' s authentic draughts . . . and we thank h i m for restori ng to us our old, and as i t appears, true i llusi ons." 2 The phrase "t rue i llusi ons" could serve as a capsule descri pti on o f the whole o f photography, and i t is parti cularly apt when we come to consider early photographs o f Greek antiquities. Athens provides an excellent case study; i t has a relatively small number o f i mpor t ant monuments, wi t h the Acropoli s obvi ously pr i me among t hem, yet the photographers who wor ked there br ought to t hei r vi ews diverse themes, ap- proaches, and interpretations. Extensive traditions, bot h pi ctori al and literary, un- derlay the ni neteenth-century photographs o f classical sites. Thi s essay wi l l first examine the cultural context for the photographi c enterprise: what di d the people o f the t i me want to see i n thei r images o f the ancient world? The last part o f the essay wi l l concentrate on t wo artists who are parti cularly wel l represented i n the This article was begun i n the summer of 1985 during my tenure as guest scholar i n the Department of Photographs o f the J. Paul Getty Museum. I owe a great debt of gratitude to Weston J. Naef and the other members of the department, as well as to the staff of the Getty's Department of Education and Academic Affairs, Photo Archive, Ar - chives of the History of Ar t , and Library. My thanks also to Mar- guerite Waller and Ben Lifson for invaluable editorial advice. 1. Richard Jenkyns, The Victorians and Ancient Greece (Cambridge, Mass., 1980); Frank Turner, The Greek Heritage in Victorian Britain (New Haven, 1981). 2. W. Hazlitt, Essays on the Fine Arts (London, 1873), p. 144. 3. Felix Bonfils published two albums, five years apart, that i n- cluded views of Athens. Architecture Antique (Paris, 1872) contains eight photographs of Athens, and Souvenirs d'OrientAlbum pitto- resque des Sites, Villes et Ruines les plus remarquables de la Terre Sainte (Alais, 1877) has ten. Each set also includes pictures made i n the Near East and Turkey. Souvenirs d'Orient was republished i n 1878 i n a smallerhence presumably cheaperedition; i n this latter version, Getty's ri ch assortment o f ni neteenth-century vi ews o f Greek antiquities: the French-born commerci al pho- tographer Feli x Bonfi l s 3 and the Amer i can di plomat, author, and photographer Wi l l i am James St i l l man. 4 Bo t h men were phot ographi ng i n Athens i n the late 1860s and early 1870s, yet even a cursory glance at thei r respective treatments o f the same subject (e.g., the Par- thenon, figs. 4, 13) reveals how different thei r ap- proaches could be. I n brief, Bonfi ls was an accom- plished commerci al photographer, who made beautiful, i f conventi onal, images to satisfy a broad audience. St i l l man was an i nspi red amateur wi t h a complex pr i - vate vi si on o f the Greeks and thei r relationship to his o wn times. The wo r k o f these t wo men illustrates the extraordi nary range o f true illusions made available by the photographers to thei r audience. Despite the precision o f renderings made by artists li ke Jacques Carrey i n 1674 5 and James "At heni an" Stuart and Ni cholas Revett (whose first volume o f drawi ngs was published i n 1762), 6 most o f the pre-Vi c- tori an drawi ngs and pai nti ngs o f At heni an sites were distorted by li terary concerns. As Fani -Mari a Tsi gakou has noted, "Characteristically, wr i t t en descriptions often seem to have been more accurate than pi ctori al representations . . . i t was the formali zed, li terary past, not the present, that was the attraction o f Greece." 7 oddly enough, Bonfils adds two pictures of Constantinople and labels them as belonging to "Grece." 4. Wi lli am James Stillman, The Acropolis of Athens: Illustrated Pic- turesquely and Architecturally in Photography (London, 1870), wi t h one small photograph on the title page and twenty-five full-size plates. 5. Carrey traveled to Athens wi t h the French ambassador to the Turkish court and produced a set of drawings, now i n the Bi bli o- theque Nationale, Paris. They are the best documentation of the Parthenon before 1687, when it was being used as a powder magazine and suffered a direct hit from a Venetian shell. 6. Stuart and Revett's travels and the publication of their Antiq- uities of Athens, Measured and Delineated were sponsored by the Society of Dilettanti, a group of British artistocrats dedicated to the study of classical culture. See Jenkyns (supra, note 1), pp. 112, also James Osborn, "Travel Literature and the Rise of Neo-Hellenism i n En- gland," Bulletin of the New York Public Library 67 (1963), pp. 279-300. 7. Fani-Maria Tsigakou, The Rediscovery of Greece (New Rochelle, N Y , 1981), pp. 26, 28-29. 126 Szegedy-Maszak Painters also loved to exploi t whatever exotica they could fi nd or confect. James Stuart produced a portrai t o f hi mself, clad i n turban and robes, sketching the Erechthei on, i n front o f whi ch passes a small procession consisting o f a Turki sh pasha, his son-in-law, the son- in-law' s small daughter, and the girl's black slave. 8 Ot her painters and draughtsmen often enlivened thei r depictions wi t h si mi lar i magi nat i ve additions. Wi t h the i nvent i on o f photography, however, the visual record acquired a new pri macy, and a new set o f standards developed for document ary precision. Where we have evidence for a photographer's i nt en- t i on, we generally find that he clai med accuracy as his chi ef cont r i but i on. Indeed, on January 7, 1839, when Francois Ar ago announced the i nvent i on o f phot ogra- phy i n the Academi e des Sciences i n Paris, he said that one o f its most pr omi si ng applications was the precise copyi ng o f antiquities, specifically the hi eroglyphi cs o f Egypt . 9 It was t hought that photography could re- mai n unaffected by the prejudices and preferences o f the artist. Wi l l i am Henr y Fox Talbot, the i nvent or o f the paper negative process, wr ot e o f the camera that "the i nst rument chronicles whatever i t sees, and cer- t ai nly wo ul d delineate a chi mney-pot or a chi mney- sweeper wi t h the same i mpar t i al i t y as i t wo ul d the Apol l o o f Belvedere." 1 0 Thi r t y years later, when Wi l - l i am James St i l l man composed the i nt r oduct or y note to his album, li t t le had changed. St i l l man states that his vi ews "have been left . . . untouched . . . so that not h- i ng should di mi ni sh thei r accuracy." 1 1 On l y relatively recently have we come to admi t that photography is cont rolled by pi ctori al conventions li ke any other visual medi um; 1 2 for most ni neteenth-century viewers the phot ograph was conceived o f as a trans- parent wi n d o w ont o an objective reality. Al t hough the camera, t o use Talbot's wor d, was i mpar t i al, the pho- 8. Ibid., p. 32, fig. I I . 9. See Aaron Scharf, Art and Photography (New York, 1974), pp. 2526; see also Louis Vaczek and Gail Buckland, Travelers in Ancient Lands: A Portrait of the Middle East 1839-1919 (Boston, 1981), p. 34, and more generally on photography and archaeology i n the Mi ddle East, pp. 7677. The French calotypist Eugene Piot is credited wi t h being the first actually to use photography to provide precise documenta- ti on of antiquities; he worked i n Italy i n the late 1840s (publishing a selection entitled Lltalie Monumentale i n 1851) and then i n Greece a few years later. On Piot, see Andre Jammes and Eugenia Parry Janis, The Art of Trench Calotype (Princeton, 1983), pp. 46-48, 234-235. 10. The remark is made i n Talbot's introduction to his Pencil of Nature (London, 18441846), a collection of twenty-four calotypes (salt prints from paper negatives). 11. In the case of Stillman s album, as wi t h many nineteenth-cen- tury albums, lack of pagination makes an exact reference impos- sible. Unless otherwise indicated, this is also the case wi t h excerpts from additional photographic albums quoted throughout the present article. tographers were not, and to appreciate thei r wo r k fully, i t is necessary to sort out the influences that shaped thei r picture maki ng. We must first, therefore, under- stand the locat i on o f Greece i n the mi d-ni net eent h- century i magi nat i on. The rediscovery o f Greece was already wel l under way i n 1839 when photography was i nvented. Wi t hi n the same year an entrepreneur named N . - M. P. Lere- bours sent daguerreotypists to Athens. He then had draughtsmen convert thei r pictures i nt o aquatints and i n 1842 publi shed the latter i n a collecti on whose ti tle, Excursions daguerriennes: Vues des monuments les plus remarquables du globe, promi sed "vi ews o f the most remarkable monument s on earth." 1 3 Thi r t y-fi ve years later, the photographi c representation o f the "most remarkable" was st i l l a major concern, as is shown by the ti tle o f one o f Bonfi ls' great collections, Souvenirs d'OrientAlbum pittoresque des Sites, Villes et Ruines les plus remarquables de la Terre Sainte. Fr om the age o f Odysseus on, the prospect o f seeing the world' s wo n - ders has been one o f the most powerful st i muli for travel- ers, and the early photographers and their audience were not i mmune to its appeal. The lure o f the marvelous, leavened wi t h religious and cultural piety, was an or i g- i nal and endur i ng mot i ve for the photographi c explora- t i on o f ancient lands. Set apart by its locati on, language, customs, and poli ti cal circumstances, Greece seemed to belong bot h to Europe and to the Near East. 1 4 We have already noted the Or i ent ali sm i n Stuart's pai nt i ng, but to repeat, the "Or i ent als" are Turks, not Greeks. 1 5 It was this ambi gu- i t y that allowed for the i nclusi on o f Greece i n pho- tographic document at i on o f the Ho l y Land. For the Br i t i sh travel photographer Francis Fr i t h the fact that 12. On this subject i n general, the indispensable discussion is by Ernst Gombrich, Art and Illusion, 3rd ed. (London, 1968). 13. N. M. P. Lerebours, ed., Excursions daguerriennes: Vues des monuments les plus remarquables du globe (Paris, 18401842). In addition to Athens, Lerebours dispatched his artists to Egypt, Nubia, the Holy Land, and most countries i n Europe. 14. As Jenkyns observes, Greece "was near enough to be acces- sible, remote enough to be exotic, wi t h a soupcon of danger to add spice to the adventure" (supra, note 1), p. 4. 15. A similar phenomenon appears a century later i n the Shaw album, whi ch was compiled i n the late 1860s or early 1870s by a wealthy and knowledgeable traveler, whose name is all that is known of hi m. It includes photos taken i n Greece and the Near East. It contains many ethnographic portraits of Turkswarriors, dervishes, members of the royal harembut none of Greeks, who presumably were not sufficiently "exotic" to warrant that ki nd of attention on the part of a collector. Moreover, the Shaw album is not unique i n this regard. The Getty owns an anonymous travel album (see infra, note 39) that has exactly the same balance, or rather imbalance, between True Illusions 127 Paul preached on the Areopagus (Acts 17:22) was reason enough to put vi ews o f Athens i nt o a collecti on enti tled Photo-Pictures from the Lands of the Bible. 16 I n the same way, as noted above, Greece forms part o f Feli x Bonfi l s' Terre Sainte. The paradox is that Greece is neither assim- ilated i nt o Chri st i an Europe nor portrayed i n its Or t hodox reality. Instead i t is l i mi nal , i denti fi ed as a hybr i d that combines the best o f paganism wi t h early Chri sti ani ty. Greece was unusual i n other ways as well. Dr. Johnson had declared "a man who has not been i n Italy is always conscious o f an i nferi ori ty, fr om his not havi ng seen what i t is expected a man should see." 17 Unl i ke Italy, however, Greece had never become a requisite stop on the Grand Tour. A small but t el l i ng sign o f the i ni t i al domi nance o f Rome over Greece i n the Western Eur o- pean perception o f the ancient wo r l d is the fact that, at least for the Br i t i sh and the French, the names o f the Ol ympi an gods were always Lati ni zed: Athena's Par- thenon is the temple o f Mi ner va, Zeus Ol ympi os is Jupiter, Ares is Mars, Demeter is Ceres, and so on. Mor e i mport ant ly, much o f Western Europe's contact wi t h classical ant i qui t y had sprung fr om the use o f clas- sical canons i n bui ldi ngs li ke Palladian villas or the great publi c edifices i n major cities. Students o f architecture, such as the wi nners o f the Pr i x de Rome, went to Italy for thei r classical models. Greece was too far away and too wi l d . 1 8 It is true enough that i n the early part o f the ni neteenth century, travel i n the Aegean was more haz- ardous than i n other parts o f Europe. I n 1812, Wi l l i am Gell, a member o f the Society o f Di l et t ant i , wr ot e to the secretary o f the society that he and his compani on wi shed to make the voyage fr om Athens to Turkey but were forced to postpone thei r t r i p because o f the threat fr om pirates and privateers. 1 9 Even after such dangers had abated, some uncertai nty li ngered on. Al t hough ethnographic studies from Turkey and unpopulated views of the Greek monuments. This is not to say that there were no genre scenes made i n Greecemany are reproduced i n a recent catalogue from the Benaki Museum, Athens 1839-1900A Photographic Record (Athens, 1985)but they do not seem to have interested the typical western traveler. The Shaw album is i n the collection of Daniel Wolf, and I am grateful to hi m for having given me the opportunity to examine it. 16. This is a portfolio of views selected from the larger series called Friths Europe and the East: Photo Pictures (Reigate, n.d.); i n the port- folio each picture is captioned wi t h a biblical verse. 17. James Boswell, Life of Samuel Johnson LL.D, ed. C. Shorter (New York, 1922), vol. 5, pp. 63-64. 18. It was thought of as "an exotic Oriental country, which pre- sented physical danger and sensual seduction better avoided by the serious student"; see The Museum of Fine Arts, Houston, Ecole Na- tionale Superieure des Beaux-Arts, Paris, et al., Paris-Rome-Athens: Travels in Greece by French Architects in the Nineteenth and Twentieth Centuries, ex. cat. (Houston, 1982), p. xvi i i . I owe to this publication all my information about the French studies i n Greece. See also the the Pr i x de Rome had been i n existence since before the French Revolut i on, i t was not unt i l 1845 that a wi n - ner was per mi t t ed to go to Greece. The Ecole Fran- chise d'Athenes was founded i n 1846, yet i t was almost t hi r t y years before its students were allowed to i nvest i - gate any sites outside the ci t y itself. Gradually, t hough, fr om the 1820s on Greece di d overtake Rome, and its attraction was made manifest by the large number o f painters, architects, and photographers who chose to wo r k there. 2 0 Henr y Cook, a painter and wri t er, traveled t hr ough Greece i n 1849/50 recordi ng his impressions i n a series o f short articles. 2 1 He reports that seeing the mo nu- ments i nspi red t wo feelings o f almost equal power, "the first, an over whel mi ng i mpressi on o f beauty and gran- deur, the other (succeeding i mmedi at ely) , a sense o f utter and irrepressible sadness." 22 The monument s thus became part o f the sublime, i nspi r i ng phi losophi cal or sentimental reflection on the depredations o f ti me. Here, i n the direct t r adi t i on o f Romanti c phi lhelleni sm, we fi nd the sense o f the ruins as evocative survivals o f the "classical." Byr o n had expressed the same feelings i n "The Giaour" (1813): "Such is the aspect o f this shore;/ ' Tis Greece, but l i vi ng Greece no more!.../ Shrine o f the mi ght y! can i t be,/ That this is all remains o f thee?" 2 3 Most o f the photographs fr om Athens are general vi ews rather than fragments, whole bui ldi ngs rather than architectural or sculptural details, possibly because they were meant for the armchair traveler rather than the specialist. 2 4 Whi l e photographers could emphasize either the archaeological or the picturesque, all those who made architectural views i n Greece were aware that they were dealing wi t h the scantiest remnants o f what had actually existed. The compari son was dr awn be- review by Bernard Knox, "Visions of the Grand Prize," New York Review of Books 31, no. 14 (1984), pp. 21-28. 19. The letter is i n the Archives of the History of Ar t of the Getty Center for the History of Ar t and the Humanities (#840199). 20. Turner (supra, note 1) discusses the reasons behind the shift i n interest from Rome to Greece and ascribes it to the combination of a search for new cultural patterns, the influence of the new German philologywhich revolutionized the understanding of the ancient worldand "the stirring of liberal democracy that began wi t h the American Revolution" (p. 3). 21. "The Present State of the Monuments of Greece," The Art Journal 13 (1851), pp. 130-132, 187-188, 228-229. 22. Ibid., p. 131. 23. "The Giaour: A Fragment of a Turkish Tale," The Works of Lord Byron, ed. E. H. Coleridge (New York, 1904), vol. 3, pp. 90-91, lines 9091, 106107. Tsigakou (supra, note 7), p. 41, reproduces a water- color of 1822 by Turner, which uses Byron's lines as an epigraph. 24. A very different approach is exemplified by the work of Au- guste Salzmann, who photographed i n Jerusalem i n the early 1850s 128 Szegedy-Maszak Figure 1. The Parthenon in Athens, 1842. Aquat i nt by Frederic Mar t ens f r o m a daguerreotype. H : 15 c m ( 5 7 / 8 ") ; W: 20.3 c m ( 7 1 5 / i 6 ") . Mal i b u, The J. Paul Get t y Mus e um 84.XB.U87.24. t ween the physical rui ns and the fact that we have onl y a fracti on o f ancient li terary pr oduct i on. 2 5 The pictures, therefore, serve bot h t o preserve the treasures that sur- vi ve and t o elegize vanished glories. I n the note accom- panyi ng the vi ew o f the Parthenon i n Excursions daguer- riennes (fig. 1), Joly de Lot bi ni ere gives voice to the pri de and excitement aroused by the new i nvent i on: "Thi s vi ew was made i n the aut umn o f 1839; I ment i on this fact because i t was the first t i me the i mage o f the Parthenon was fi xed on a plate by Daguerre's br i l l i ant i nvent i on, and because each year can br i ng new changes i n the appearance o f these famous ruins." De Lot bi ni ere menti ons the damages the bui l di ng had sustained, mo d - ern efforts to restore i t , and then significantly li nks the archaeologists (and by i mpl i cat i on, the photographers) to the ancient Greeks: "What glory, what pleasure, for the one who can br i ng back this wor k, the masterpiece o f Pheidias, o f Pericles; his name wo ul d thus be j oi ned to theirs." Fr om this perspective, even overall vi ews of, for example, the Acropoli s, can themselves be seen as and shortly afterward published t wo large selections of architectural studies. As noted i n the study by Jammes and Janis, "Salzmanns photographs of details are selectively arranged like collages of ma- sonry, architectural ornament and shadow which defy reference to a larger context" (supra, note 9), pp. 246248. See also Richard Bretell et al., Paper and Light: The Calotype in France and Great Britain 1839-1870 (Boston, 1984), pp. 168-172. 25. Commenti ng on the views of antiquities made by Eugene Piot, the critic Philippe Burty wrote that they were "Comme ces lambeaux de manuscrit dont nous retrouvons par hasard une scene, un mono- logue, un choeur interrompu au vers le plus pathetique." (Like those scraps of manuscript i n whi ch we chance to find a scene, a mono- logue, a chorus, cut off at the most touching verse.) "Exposition de la Societe franchise de Photographie," Gazette des beaux arts 1, no. 2 Figure 2. The Acropolis in Athens, 1842. Aquat i nt by A. Apper t f r o m a daguerreotype. H: 14.1 c m ( 5 9 / i 6 ") ; W: 19.2 c m ( 7 9 A 6 ") . Mal i b u, The J. Paul Get t y Mus eum 84.XB.U87.23. synecdochic fragments o f some larger entity, the " A n - t i que." 2 6 Li ke thei r li terary counterparts, bot h the rui ns and the photographs reflect the entire social and artistic complex wi t hi n whi ch they were created. Anot her powerful i mpetus behi nd this ki nd o f pho- tography was the medi um' s struggle to establish i t self as a legi ti mate expression o f hi gh culture. It had to es- cape the sti gma o f being, i n Peter Galassi's memorable phrase, "a bastard left by science on the doorstep o f art." 2 7 By phot ographi ng the acknowledged master- pieces o f the western t r adi t i on, photographers staked a clai m for themselves wi t hi n that t r adi t i on and con- firmed the seriousness o f thei r o wn activity. I n spite of, or perhaps because of, thei r ostensible superi ori ty as li teral documents, the photographsli ke the drawi ngs and pai nti ngs that preceded themwere made under the spell o f the ancient texts. Photographs offered a new oppor t uni t y to grati fy the desire for first- hand experience o f the places that had been i mmo r - talized i n the masterpieces o f classical li terature. 2 8 Li ke (1859), p. 217. 26. Peter Galassi has commented that "the sense of a picture as a detail, carved from a greater, more complex whole, is a characteristic, original feature of nineteenth-century art. Perhaps most symptomatic is the phenomenon of close variant views of the same site." See Peter Galassi, Before Photography: Painting and the Invention of Photography (New York, 1981), p. 26. 27. Ibid., p. 12. 28. Tsigakou comments, "European artists and their clients shared the belief that certain places which had been dignified by past glory possessed such powers of suggestion that their successful depiction could stimulate the imagination and make more vi vi d the impression of what had happened there" (supra, note 7), p. 27. See also Ti mot hy Webb, English Romantic Hellenism 1720-1824 (Manchester, 1982), es- True Illusions 129 de Lotbi ni ere, Paul de La Garenne wr ot e an essay for Excursions daguerriennes, i n conjunct i on wi t h the l ong vi ew o f the Acropoli s (fig. 2): "When I open the hi st ory o f Athens i n the t i me o f Pericles, the most br i l l i ant spectacle unfolds before my eyes: the whole ci t y is ful l or orators, artists, renowned warri ors." Li kewi se, i t was believed that one could not, for example, t hor oughly understand Homer unt i l one had stood on the plai n outside Troy, for, i n the words o f Robert Wood, "the Iliad has new beauty on the banks o f the Scamander." 29 I n thei r absorpti on i n all thi ngs Greek, the phot ogra- phers and thei r audience seem to have been li t t le t r ou- bled by the difference between hi st ory and myt hol ogy The locations made famous i n epic and tragedy shared an appeal equal to those o f ancient mi l i t ar y campaigns or poli t i cal debates as subjects o f photographs. Del phi , Mycenae, Cor i nt h, Argos, and, o f course, Athens were all depicted by numerous photographers bot h forei gn and domesti c. 3 0 Indeed an allusion to the greatness o f times past occasionally compensates for some mediocre imagery. I n the wo r l d o f Vi ct or i an photography, and even for us today, an undi sti ngui shed seascape takes on new resonance wi t h the i nfor mat i on that i t is Salamis, and a dul l picture o f an empt y fi eld is transformed i nt o a t el l i ng cultural and historical document wi t h the si m- ple capti on "Mar at hon. " 3 1 Included i n the Get t y collecti on is a splendid copy o f Lerebours' Excursions daguerriennes. The daguerreotyp- ists' ori gi nal plates have l ong since disappeared, yet one gets a sense o f "photographi c seeing," parti cularly i n the vi ew o f the Parthenon, whi ch includes a deci d- edly non-classical shed di rectly i n front o f the temple (fig. 1). I n many o f the other pictures i n the book, Lerebours' craftsmen added figures when copyi ng the daguerreotypes and translating t hem i nt o engravings, yet there are no such additions i n any o f the pictures fr om Athens. I n fact, the whol e issue o f the i nclusi on o f people i n ni neteenth-century landscape photographs deserves more attenti on. The standard explanations that they are pecially pp. 16. 29. The Ruins of Palmyra (London, 1753), preface, unpaginated. The remark is quoted by Jenkyns (supra, note 1), p. 7. Jenkyns' silence on the topic of photography is all the more difficult to understand i n view of his compelling account of the importance accorded by the Victorians to seeing the original sites connected wi t h Greek literature. 30. Among the earliest photographers i n Greece were the da- guerreo typists included i n Lerebours' Excursions daguerriennes (18401842) and Baron Gros (1850). Early calotypists included George Bridges (1850), Alfred Normand (1851), Eugene Piot (1851-1852), Jean Walther (1851), and Claudius Wheelhouse (1850-1851). See Gary Edwards, "Foreign Photographers i n Greece," i n the Benaki Museum catalogue (supra, note 15), pp. 1624. 31. G. Charvet makes explicit this function of the photographs i n meant to recall the conventions o f pai nt i ng or to i ndi - cate scale seem true but insufficient. A more expansive i nterpretati on has to take i nt o account the rhetoric o f photography i t self and its peculiar relati on to the ob- jects i t depicts. Al t hough pai nti ngs by an artist li ke Ger me, for example, contai n a st unni ng amount o f detail, the vi ewer is always aware that the scene depicted is a product o f the i magi nat i on and the hand o f the artist. There di d not have to be an actual event that corresponded to the pai nted image. I n the presence o f most photographs, on the other hand, the vi ewer be- lieves i n the li teral veracity o f the rendering, or at least i n the existence "out there" o f the objects recorded. Paintings and drawings, no matter how accurate, always have the character o f i llust rat i on, but photographs serve bot h as i llust rat i on and as evidence. Al t hough we have become less credulous about the factual status o f the photographi c image, the ni neteenth-century vi ewer di d not share such skepti ci sm. 3 2 A l l this has a particular poi nt when photographs have been taken i n a land as li t t le kno wn as Greece. When the figures i n a photograph were i denti fi ably western and mi ddl e class (hence able to afford the expense o f the t r i p) , thei r presence created a sense o f i denti fi cati on on the part o f would-be travelers and pr omot ed the acquisition o f fi rst-hand acquaintance wi t h classical culture. Figures i n local costume were parti ci pati ng i n another ki nd o f historical romance, one that bot h emphasized cultural difference and pri vi leged the mys- tique o f cont i nui t y wi t hi n change. I n either case, the sites become stage sets, and the presence o f actors is simultaneously provocative and reassuring. Wi t hout r obbi ng the land o f its unusual qualities, photographs nonetheless domesticated i t and conveyed the message that i t was a safe place to go. I n general the ni neteenth-century photographs fr om Greece tend to have fewer figures i n t hem than vi ews fr om Rome, the Ho l y Land, or elsewhere i n the Me d i - terranean. Part o f the reason, as discussed above, is that contemporary Greeks were not t hought to be as exotic his preface to Bonfils' Souvenirs d'Orient: "Le philosophe et le penseur voudront eux-memes se recueillir devant ces vieux temoins des ages ecoules qui racontent l'histoire mieux que l'histoire elle-meme." (The philosopher and the intellectual wi l l wish to stop and reflect before these old traces of vanished ages, which relate history better than history itself.) Photographs of Salamis and Marathon are included i n the Shaw album (supra, note 15). 32. Again we may cite Charvet's remarks on Bonfils (cf note 31): "Devant ces tableaux prestigieux, l'illusion est complete, et Ton croirait se trouver en presence de la nature elle-meme, tellement 1'ar- tiste a su mettre d'intelligence et de got au service de son art." (Before these illustrious pictures, the illusion is complete; one could believe that one was i n the presence of nature herself, so well has the artist put intelligence and taste i n the service of his art.) 130 Szegedy-Maszak as the inhabitants o f the Near East. I n addi t i on, the cultural i mportance o f the Greek monument s gave rise to a ki nd o f deference, or even reverence. It is as i f the photographers wi shed to present the classical ruins as relatively free fr om i nt r usi on by the moder n wor l d. To summari ze, photography played t wo seemingly contradi ctory but actually complementary roles i n mak- i ng Greece more accessible to the wor l d. It afforded vicarious grati fi cati on o f the need to see extraordi nary places and at the same t i me encouraged travel to those very places. O f course, photographs also came to serve as the most c ommon trophies and souvenirs o f the voyage. The medi um that began by pr omi si ng the re- markable eventually brought its subjects i nt o the realm o f the ordinary. It is wo r t h repeating that the early photographers o f Greece were heirs to a l ong pi ctori al t radi t i on. Jacob Spon, a French physician, and George Wheler, a Br i t i sh naturalist, made a t our t hr ough Italy, Greece, and the Levant i n the mid-1670s. I n 1678 Spon publi shed an ac- count o f thei r j our ney i llustrated wi t h engravings made on the basis o f his o wn drawi ngs. 3 3 When the t wo men were i n Athens i n 1676, they saw the Acropoli s wi t h the Propylaea, Erechthei on, Parthenon, and temple o f Athena Ni ke; the Thesei on; 3 4 the choregic monument o f Lysicrates; the Tower o f the Wi nds; and the Ar c h o f Hadrian. Mari e-Chri sti ne Hellmann and Philippe Fraicse note: " Al o n g wi t h Philopappos's Monument , this group o f bui ldi ngs formed, at the t i me, 'the rui ns o f Athens, ' wi t ho ut any clear di st i nct i on bei ng made be- t ween the Greek and Roman peri ods." 3 5 The ni ne- teenth-century audience i denti fi ed ancient architecture solely wi t h the publi c and monument al, and the Acr op- o l i swi t h some allowance for the Ol ympei on, the Thesei on, and one or t wo other siteswas believed to represent the pinnacle o f the Greek accompli shment. 3 6 As noted above, most o f the photographi c images are 33. Jacob Spon, Voyage dTtalie, de Dalmatie, de Grece et du Levant (Lyons, 1678). Tsigakou remarks that "Spon and Wheler were, i n fact, the first travellers to wri te about Greece i n a way that combined scholarship wi t h accurate observation" (supra, note 7), p. 18, see also p. 192, and Osborn (supra, note 6), and David Constantine, Early Greek Travellers and the Hellenic Ideal (Cambridge, 1984), especially pp. 7-33. 34. This is the nineteenth-century name for the temple overlook- ing the west side of the Athenian Agora. Scholars now unanimously identify it as a temple of Hephaistos and call it the Hephaisteion. In this paper I wi l l use the older appellation because that is how i t appears i n the photographers' captions. On the controversy, see R. E. Wycherley, The Stones of Athens (Princeton, 1978), pp. 68, 97. 35. Paris-Rome-Athens catalogue (supra, note 18), p. 25. 36. "The Athenian Acropolis and its different buildings [were] "uni t ar y" views, that is, o f an entire bui l di ng or at least an entire side. Moreover, there was a fai rly restricted canon o f bui ldi ngs and even o f vi ews o f these bui ldi ngs. The earliest photographi c vi ews o f the "rui ns o f At hens" are the same as those o f Spon and Wheler, and the set does not change appreciably for the next quarter century. 3 7 A n excellent example is afforded by the t em- ple o f Zeus Ol ympi os, almost always shot fr om the east so as to emphasize the enormous hei ght o f its columns and hi ghl i ght the Acropoli s hoveri ng behi nd i t . Such conventions were established as early as the Excursions daguerriennes (fig. 2). Some o f t hem were "self-evident, " whi l e others were bor r owed fr om pai nt i ng. 3 8 We mi ght compare this wi t h the i mpulse o f ni neteenth-century landscape phot ogr aphy i n the Un i t ed States, wher e there was, for example, a uni ver sally accepted "best general vi ew" o f Yosemi te. 3 9 Feli x Bonfi ls and Wi l l i am James St i l l man were wo r k- i ng largely i n the t wo decades fr om 1860 to 1880, when photography had reached its maturi ty, and thei r pictures exhi bi t almost all the features that have been described earlier. Bonfi ls was bor n i n France on Mar ch 6, 1831. I n 1866 he moved to Bei r ut and established a photography studio, specializing i n architectural and ethnographic vi ews o f the Mi ddl e East. 4 0 Later, he was j oi ned by his son, Adr i en, who cont i nued the operati on after his father's reti rement i n 1878. Thei r oeuvre represents commerci al wo r k o f hi gh quali ty and is thus a valu- able i ndi cator for popular taste o f the t i me. Fel i x Bonfi l s publi shed t wo albums, five years apart, that i ncluded vi ews o f Athens: Architecture An- tique (1872eight photographs o f Athens) and Souve- nirs d'Orient (his last wor k, 1877ten photographs o f At hens) . 4 1 Bo t h sets are more or less standard collec- tions o f professionally made travel scenes, although pre- sented i n the for m o f lavish foli o volumes wi t h near- i mper i al size plates. Once again we see the power o f the canon; bot h sets contai n vi ews o f the Parthenon, the Erechthei on ( t wo each, one a more general depi cti on thought to contain the very essence of Greek architecture." Ibid., p. 34. 37. Among the pictures i n the Getty collection there are three views attributed to P. Margaritis, a local Athenian photographer. There is a general view of the Acropolis from the south, a frontal study of the temple of Athena Ni ke, and the interior (east) side of the Propylaea wi t h the Venetian tower beyond. Interestingly, there is nothing wi t hi n the images themselves that would identify their maker as Greek. I began this study wi t h the impression that there might be discernible variations i n the "national character" of the views by photographers from different countries. Now, however, it seems to me that the canon was strong enough to override any such variations that might have existed. 38. Henry Cook (cf. note 21) painted Athens from the road to Eleusis and described this view as giving "perhaps the most beautiful True Illusions 131 Figure 3. Feli x Bonfi l s (French, 1831-1885). The Parthe- non As Seen from the PropylaeaAthens, circa 1872. Al b ume n pr i nt . H: 22.5 c m (87s"); W: 29.2 c m (1IV2"). Mal i b u, The J. Paul Get t y Mus eum 84.XM.422.37. and the other a close-up o f the caryatids), the Thesei on, the theater o f Di onysus, and the choregic monument o f Lysicrates. Bonfi ls, however, di d not reuse his old nega- tives but made new pictures for each site, and so we are provi ded wi t h a revealing gli mpse i nt o the development o f his wo r ki ng methods. Sometimes the differences are mi nor . For example, the views o f the Thesei on are taken fr om sli ghtly di f- ferent angles, wi t h the later one i ncl udi ng somewhat more o f the surroundi ng landscape. The Parthenon is seen fr om almost exactly the same vantage poi nt i n bot h versions, but the foreground o f the later picture is occupied by an assortment o f architectural and sculp- tural fragments uncovered by recent excavations (figs. 3, 4). I n the first study o f the theater o f Di onysus (fig. 5), Bonfi ls is at gr ound level, so that the picture becomes almost an abstract study o f the cur vi ng rows o f seats as well as the most explanatory idea of the position of the Acropolis." Quoted i n Tsigakou (supra, note 7), p. 120. 39. The Shaw album contains several Athenian views, possibly by the fi rm of Constantin, which are identified by numbers on the nega- tive. The Getty Museum owns another travel album (84.XA.1499) that also has scenes from Athens of a much lower quality both artistically and technically (see supra, note 15). Curiously, several of the views from the Getty album are o f the same sites, taken from the same angle, and marked wi t h the same numbers as their counterparts i n the Shaw album, although they are unmistakably from different nega- tives. I assume that, like Bonfils (supra, note 3), the photographer made both "deluxe" and "economy" versions of his images. It is also possible that a less-skilled photographer got hold of the Constantin catalogue and produced his own pictures, perhaps to sell at a lower price. No matter what the motive, this illustrates again that there was Figure 4. Feli x Bonfi l s (French, 1831-1885). Greece: The Parthenon in Athens, circa 1877. Al b ume n pr i nt . H: 23.1 c m (9V 8 "); W: 28.4 c m ( l l W) . Mal i b u, The J. Paul Get t y Mus eum 84.XO.1167.41. wi t h a young boy placed i n the front r ow as a sample spectator. I n r ewor ki ng this vi ew (fig. 6), Bonfi ls moves his camera up i nt o the seating area and makes the cen- tral element o f the picture the shed erected i n the mi d - dle o f the orchestra to house the workmen' s tools. The spectator is st i l l i ncluded, but his presence is now much less i mpor t ant as a pi ctori al element. Perhaps even more st r i ki ng is Bonfi l s' reinterpreta- t i on o f the Erechthei on. As noted above, bot h albums contai n t wo vi ews o f this edifice, one more general and the other a close-up. I n Architecture Antique, however, the general vi ew contains onl y a bi t o f the south wal l and the famous caryatid porch (fig. 7). I n Souvenirs d'Orient, the general vi ew is taken fr om the west, com- pletely downplayi ng the caryatids and emphasizing the Erechtheion's blend o f heterogeneous elements (fig. 8 ) . 4 2 Thi s later photograph makes more demands a li mi ted scope for what was considered acceptable or desirable i n scenes from Athens. 40. See Ritchie Thomas, "Bonfils and Son, Egypt, Greece and the Levant: 1867-1894," History of Photography 3, no. 1 (1979), pp. 33-46, wi t h correspondence from Paul Chevedden, History of Photography 5, no. 1 (1981), p. 82. See also Carney E. S. Gavin, The Image of the East: Nineteenth Century Near Eastern Photographs by Bonfils from the Collec- tion of the Harvard Semitic Museum (Chicago, 1982). 41. See supra, note 3. 42. The Erechtheion was home to a number of very old cults, and it incorporated several different structures from different periods. Its western end has been described by R. E. Wycherley as a "peculiar and ill-balanced conglomeration" (supra, note 34), p. 147. 132 Szegedy-Maszak Figure 5. Feli x Bonfi l s (French, 18311885). Interior of the Theater of BacchusAthens, circa 1872. A l - b umen pr i nt . H: 22 c m (8 5 /s"); W: 28 c m (UVie"). Mal i b u, The J. Paul Get t y Mus eum 84.XM.422.42. on the viewer's concentration, and alt hough less i mme- diately appealing than its predecessor, i t is more i nfor - mati ve about the actual structure. I n fact, most o f the pictures fr om the later series are bot h more complex vi sually and evince a more developed interest i n the archaeological, as opposed to the picturesque, details o f the bui ldi ngs. It is as i f the self-described souvenirs are now directed at a more sophisticated audience that can appreciate a more austere and scholarly approach to the sites. I n the mid-1870s a major campai gn o f excavation on the Acropoli s and its environs began under the spon- sorship o f the Greek Archaeologi cal Society, and i t is t empt i ng t o see Bonfi l s' re-vi si on as at least i n part a response to the new discoveries. Bonfi l s' wo r k consistently shows visual intelligence and technical ski l l . As a commerci al photographer, he had to be attuned to the requirements o f his clients and adept at pr ovi di ng images that wo ul d satisfy t hem. We must also remember that he sold most o f his pictures t hr ough catalogues, fr om whi ch his clients wo ul d make thei r choice by number on the basis o f a cursory de- scri pt i on along the lines o f "Parthenon, West Face." As a result, he had t o l i mi t his vi ews to those that were most canonical and keep his approach det ermi nedly neutral. He remains outside the bui ldi ngs he is pho- 43. By contrast, Francis Frith (supra, note 16) regularly repackaged his pictures i n different combinations and wi t h different titles for the various collections. 44. By the end of the century, the Bonfils atelier received a lauda- tory note i n the Baedeker guide to the region: "good photographs, a Figure 6. Feli x Bonfi l s (French, 18311885). Greece: Temple [ Theater] of Bacchus in Athens, circa 1877. Al b ume n pr i nt . H: 23.1 c m ( W ) ; W: 28.6 c m ( l l 1 / / ) . Mal i b u, The J. Paul Get t y Mus eum 84.XO.1167.45. tographi ng, and he is almost always at a mi ddl e distance that gives some sense o f the locat i on and allows for correct perspective. Hi s met hod seems to embody the disinterested i mpar t i al i t y that the early partisans o f photography had proclai med as its chi ef vi rt ue. The apparent absence o f i nterpretati on, however, i n i t self indicates what he was t r yi ng to accomplish. Hi s pi c- tures are not i ntended to be personal revelations but documents accessible to a broad audience. Hi s phot o- graphs are visual corollaries o f the standard gui de- books o f the t i me. The buyer o f a Bonfi ls pr i nt could be confident o f receiving the most wi del y accepted version o f whatever vi ew he had chosen. Those wealthy enough to afford an al bum got collections that wo ul d allow t hem to feel that they possessed a representa- tive i mage o f any subject that deserved thei r attenti on, whether the rubric was "Anci ent Architecture" or " Me m- ories o f the Orient." Bonfi ls' photography is a publi c art. I n Athens, i t is directed at the publi c face o f the ancient Greeks and the timeless perfection o f thei r architecture. Gi ven all these constraints, i t is all the more impressive that he strove to keep his images fresh. As poi nt ed out above, he di d not si mply keep r epr i nt i ng ol d negatives but returned to the sites to revise his view, sometimes radically. A skeptic large stock." Their catalogue at the time offered, among other things, a choice of more than three hundred "costumes, scenes and types from Egypt, Palestine, and Syria." This information is from Thomas (supra, note 40), p. 41. 45. The details of Stillman s life are recounted i n his Autobiography True Illusions 133 Figure 7. Feli x Bonfi l s (French, 1831-1885). Caryatids from the Temple of the ErechtheionAthens, circa 1872. Al b ume n pr i nt . H: 22.4 c m ( 8 1 3 / i 6 ") ; W: 28.9 c m ( 11W) . Mal i b u, The J. Paul Get t y Mus eum 84.XM.422.38. mi ght suggest that this is j ust a response to the publi c 's demand for novelty, whi l e a cyni c could call i t a pho- tographer's version o f planned obsolescence. Since Bo n - fils made his l i vi ng fr om selli ng photographs, commer - cial considerations must have played some part i n his decision to make new pictures o f ol d sites, but they are not enough to j ust i fy all the expense and effort i n - vol ved. 4 3 Rather, his revisions, li ke his self-effacement, are another sign o f the conscientiousness that i nforms all his wor k. I n thei r o wn t i me the pictures were hi ghl y regarded, 4 4 and taken on thei r o wn terms, they are st i l l successful today. Wi l l i am James St i l l man was bor n i n Schenectady i n 1828 and educated there at Un i o n College. 4 5 Aft er grad- uat i on he went to study pai nt i ng i n England, where he became fri endly wi t h Ruski n. He returned to the Uni t ed States and i n 1855 he founded The Crayon, the first serious Amer i can j our nal o f the arts, for whi ch he served as editor dur i ng the first year o f pub- l i cat i on. 4 6 Shortly afterward, whi l e recovering fr om an illness, he learned the basics o f photography. St i l l man then embarked on a career as a di plomat and i n 1862 be- came Amer i can consul i n Rome. Three years later, he was posted to Crete, again as Amer i can consul, but his support for the Cretan rebellion against Turkish rule made of a Journalist (Boston, 1901). See also Richard Pare, Photography and Architecture 1839-1939 (Montreal, 1982), pp. 241-242. 46. See Elizabeth Lindquist-Cock, "Stillman, Ruskin, and Ros- setti: The Struggle between Nature and Ar t , " History of Photography 3, no. 1 (1979), pp. 1-14. Figure 8. Feli x Bonfi l s (French, 1831-1885). Greece: Temple of the Erechtheion in Athens, circa 1877. Al b ume n pr i nt . H : 23.2 c m (9V 8 "); W: 28.5 c m (117i6"). Mal i b u, The J. Paul Get t y Mus eum 84.XO.1167.42. hi m persona non grata wi t h the local authorities and fin- ally led h i m to take a leave o f absencewhich proved to be permanentand move to Athens i n 1868. Once there, as he notes i n his autobiography, he set about phot ographi ng the ruins o f Athens; he had "ever yt hi ng necessary to correct architectural wor k, " and moreover "the ruins . . . had never been treated i nt elli gent ly by the local photographers." 4 7 Thi s was a g r i m t i me for St i llman. Hi s wi fe, Laura, had been gr owi ng increasingly despondent, first be- cause o f the trials o f l i vi ng i n war -t or n Crete and then because o f a debi li t at i ng illness that had struck thei r son, Russie. Shortly after thei r arrival i n Athens, she commi t t ed suicide. The pain o f her death, anxiety about the health o f his son, and an increasingly desperate lack o f money led St i l l man to the edge o f a break- down: " I was myself nearly prostrated mentally and physi- cally, and unfi t for anyt hi ng but my photography." 4 8 Stillman's life is i ndi ssolubly l i nked to his art, and despite his o wn assertions o f i mpr oved accuracy, the real i mportance o f his vi ews o f the Acropoli s lies i n the vi vi d personal vi si on he i mposed on his material. For hi m, phot ographi ng the antiquities o f Athens was a process that encompassed the exorcism o f his wife's sui - cide, the hopenot t r i vi al of allevi ati ng his financial 47. Stillman (supra, note 45), p. 454. 48. Ibid., p. 457. 134 Szegedy-Maszak Figure 9. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). Ancient Gate of the Acropolis (detail o f t i t le page), 1869. Car bon pr i nt . H: 14.5 c m (5 n he"); W: 14.4 c m ( 5 n / i 6" ) . Mal i b u, The J. Paul Get t y Mus eum 84.X0.766.4.1. Figure 10. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). View of the Acropolis from the Musaeum Hill, 1869. Car bon pr i nt . H : 18.5 c m ( 7 5 A 6 ") ; W: 23.5 c m (9 l U"). Mal i b u, The J. Paul Get t y Mus eum 84.X0.766.4.2. Figure 11. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). The Acropolis with the Theatre of Bacchus, 1869. Car bon pr i nt . H : 19 c m (7V 2 "); W: 23.7 c m (97i6"). Mal i b u, The J. Paul Get t y Mu - seum 84.X0.766.4.3. worri es, and a celebration o f Helleni c independence. Whi l e there is no way to gauge the therapeutic aspect o f his activity, his life di d eventually become more stable. He met and later marri ed Mar i e Spartali, a woman o f Greek ancestry, wi t h wh o m he li ved happi ly unt i l his death i n 1901. 4 9 As for the financial rewards, the al bum o f t went y-fi ve vi ews, 5 0 dedicated to the fami l y o f his wi fe-to-be, yi elded h i m a profi t o f about one thousand dollars, the equivalent o f a year's consular salary. 5 1 The al bum is called The Acropolis of Athens: Illustrated Picturesquely and Architecturally in Photography; bot h ad- verbs are significant as indicators o f Stillman's i nt en- t i on. I n a br i ef preface he strikes the note o f documen- tary precision that has already been menti oned: "The negatives fr om whi ch the fol l owi ng Aut ot ypes have been pr i nt ed have been, wi t h one exception, left un- touched . . . so that not hi ng should i njure the outlines or di mi ni sh the Archi tectural, accuracy o f the vi ews." 5 2 He also says that whi l e phot ographi ng the bui ldi ngs, he t ri ed whenever possible to stand so that the vi ews wo ul d be completely frontal and symmetri cal. Such comments, combi ned wi t h references to technical data, 49. Spartali modeled for several of the pre-Raphaelite painters, as well as for the photographer Julia-Margaret Cameron; see Lindquist- Cock (supra, note 46), pp. 1214. 50. See supra, note 4. 51. Stillman (supra, note 45), p. 465. 52. The Getty's album is a presentation copy signed by Stillman, and this phrase has been emended i n his hand to "wi t h four ex- ceptions." True Illusions 13! such as his use o f Dallmeyer's rectilinear lenses, create an atmosphere o f scientific objectivity. We mi ght be led, therefore, to expect a systematic, or even schematic, treatment o f the site. Instead, we fi nd ourselves i n the hands o f a br i l l i ant l y idiosyncratic t our guide, bot h ex- pert and passionate about his material. St i llmans al bum does not confor m to standard ni neteenth-century prac- tice, either architectural or archaeological. 5 3 Hi s concep- t i on depends almost as much on the sequence o f images as on thei r i ndi vi dual content, as the visual arrangement moves back and for t h between far and near, inside and outside, hi gh and low. To do ful l justi ce to his ideas, i t is necessary to go t hr ough the al bum plate by plate. For the purposes o f this essay i t wi l l suffice to concentrate on t wo o f the most i mpor t ant subsets, the i nt r oduct i on and the studies o f the Parthenon, and demonstrate how they fi t i nt o the larger pattern. The first plate, located on the t i t le page, shows the Ancient Gate of the Acropolis, t hr ough whi ch we enter to begi n our explorati on o f the site (fig. 9). St i l l man takes care to show that, for all its venerability, the Acropoli s is not a static di orama fr om a museum o f cultural hi s- tory. The first full-size picture establishes its presence as a domi nant feature i n a l i vi ng landscape, even when its structures are almost invisible (fig. 10). The capti on specifies that this l ong vi ew is taken fr om the Hi l l o f the Muses, and the subtle but unmistakable insistence on arti stry is conti nued wi t h the next image. We suddenly fi nd ourselves i n the theater o f Di onysus, whi ch is cut i nt o the south slope o f the Acropoli s (fig. 11). The the- atricality o f the setting is hi ghli ght ed by the statue i n the extreme r i ght foreground. Thi s sculpture was doubtless put where i t stands at St i llmans behest, and i t functions as a substitute for the conventi onal figure i n a landscape and for all spectators past and present. Aft er passing t hr ough the Propylaea, St i llmans first vi ew o f the Parthenon is completely frontal, recalli ng bot h the more conventi onal pictures o f contemporaries li ke Bonfi ls and his o wn claims to greater accuracy (fig. 12). We mi ght expect h i m to provi de a mat chi ng vi ew fr om the east end or possibly a t our around the other three sides, but he is not bound by such mechanical noti ons o f symmetry. The next plate is a dramatic per- spectival study o f the western port i co (fig. 13). Unl i ke 53. For example, i n the early 1860s the gifted French photographer Edouard-Denis Baldus documented the rebuilding of the Louvre and the Tuilleries. He went seriatim from pavilion to pavilion. Wi t h un- failing regularity, each section o f his monumental album begins wi t h a general view, proceeds to a series of closer views from roof level to ground level, and ends wi t h a systematic presentation of the decora- tive and sculptural programs. Figure 12. Wi l l i am James Stillman (American, 1828 1901). Western Facade of the Parthenon, 1869. Carbon print. H: 17.9 cm (7Vi 6 "); W: 23.1 cm (97i6"). Malibu, The J. Paul Getty Museum 84.XO.766.4.10. Figure 13. Wi l l i am James Stillman (American, 1828 1901). Western Portico of the Parthenon, 1869. Carbon print. H: 24.2 cm ( 9 9 / i 6 ") ; W: 19.1 cm (7V 2 "). Malibu, The J. Paul Getty Museum 84. XO.766.4.11. 136 Szegedy-Maszak Figure 14. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). Western Portico of the Parthenon, from Above, Showing the Frieze in Its Original Posi- tion, 1869. Car bon pr i nt . H: 18.9 c m (7Vie"); W: 23.4 c m ( 9 3 / i 6 ") . Mal i b u, The J. Paul Get t y Mus e um 84.XO.766.413. Figure 15. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). View Taken from the Same Point as No. 12 [ fi g. 14] and Looking Eastward over the Ruin of the Parthenon, 1869. Car bon pr i nt . H: 17.7 c m ( 6 1 5 / i 6 ") ; W: 23.5 c m ( 9V 4 ") . Mal i b u, The J. Paul Get t y Mus eum 84.XO.766.414. Bonfi ls and most other photographers o f the t i me, St i l l - man has gone inside the Parthenon, and this i mage makes expli ci t the album's poli t i cal agenda: "The names scratched on the columns are those o f Philhellenes, who fought here i n the war o f Greek independence." 5 4 Here Stillman's earlier support o f the Cretan upri si ng against Ot t oman rule finds a complex double reflection i n the palimpsest created by the grafi t t i on the ancient marble. Despite the aforementioned stance o f correctness and objectivity, his al bum is an allegory whose hero is the Greek spirit, specifically i n its artistic and poli t i cal man- ifestations. St i l l man presents the bui ldi ngs and thei r decorative elements i conographi cally to express what he saw as the Helleni c ideal. Thi s wo ul d serve, at least i n part, to explai n the osci llati on between l ong vi ew and detail as wel l as the startli ng novelty o f some o f the visualizations. No t content wi t h the usual pedestrian poi nt o f view, St i l l man t ook his camera up to the very top o f the Parthenon to capture the last bits o f the frieze i n situ (fig. 14). Thi s l ong sculpture i n hi gh reli ef depicted the great Panathenaic processionin whi ch all residents o f the ci ty t ook partand thereby celebrated At heni an civic uni t y. 5 5 I n the context o f the album, i t is another Figure 16. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). Eastern Portico of the Parthenon, View Looking Northward, 1869. Car bon pr i nt . H: 24.2 c m ( 9V 2 ") ; W: 18.4 c m ( 7 1 / / ) . Mal i b u, The J. Paul Get t y Mus e um 84.XO.766.416. 54. This is Stillman's own caption. The abbreviation Philh[elle]ne is clearly visible inscribed under the signature of one Blondel. Given the difficulty of the exposure, Stillman might have retouched the negative to make the grafitti more vi vi d. 55. See Mar t i n Robertson and Alison Frantz, The Parthenon Frieze True Illusions 137 Figure 17. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). Eastern Facade, or Front, of the Parthenon, 1869. Car bon pr i nt . H: 18.5 c m ( 7 5 / i 6 ") ; W: 24 c m (97i6"). Mal i b u, The J. Paul Get t y Mu - seum 84.X0.766.4.17. example o f the Greeks' abi li t y to blend the aesthetic and the poli ti cal. Havi ng cli mbed to the top o f the Par- thenon, St i l l man also t ook note o f the practical pr ob- lems i nvolved i n the pr oduct i on o f the frieze, and the next plate is a di zzyi ng vi ew o f the panorama the or i gi - nal craftsmen wo ul d have seen (fig. 15). When he re- turns to the ground, i t is to fi nd an unkno wn manthi s mi ght be a sel f-por t r ai t 5 6 wi t hi n the eastern port i co (fig. 16). I n an unusual gesture, the man is t urned away fr om the camera, and his posture is studiedly introspec- tive under the col umn dr um that seems so precariously balanced above hi m. St i l l man seems to have placed spe- cial i mportance on this image, since i t is the onl y pi c- ture i n the al bum to i nclude a figure i n western dress, as wel l as the onl y one to be cropped wi t h an arched top. Such features support the suggestion that i t is a portrai t o f the artist. There follows yet another example o f osci llati on; the next shot is the long-postponed, yet unexceptional, frontal vi ew o f the eastern facade (fig. 17). The penul t i - mate vi ew o f the Parthenon is quite li t erally at gr ound level (fig. 18). It is accompanied by an erudite capti on explai ni ng the architectural refinements o f the stone courses, 5 7 but the picture's visual components belie, or (Oxford, 1975). See also John Boardman and David Finn, The Par- thenon and Its Sculpture (Austin, Tex., 1985). 56. The suggestion is made i n Pare (supra, note 45), p. 242. 57. The following is excerpted from the caption: "Profile of the Eastern facade showing the curvature of the stylobate. This system of Figure 18. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). Profile of the Eastern Facade, Showing the Curvature of the Stylobate, 1869. Car bon pr i nt . H: 18.4 c m ( 7 1 / / ) ; W: 23.7 c m ( 9 W) . Mal i b u, The J. Paul Get t y Mus eum 84.X0.766.4.18. Figure 19. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). General View of the Summit of the Acro- polis, from the Extreme Eastern Point, Showing the Erectheum [ Erecht hei on] at the Right, 1869. Car bon pr i nt . H: 17.7 c m ( 6 1 5 / i 6 ") ; W: 24 c m ( 9 7 / i 6" ) . Mal i b u, The J. Paul Get t y Mus eum 84.XO.7664.19. curvature of the Greek temples . . . seems, taken i n conjunction wi t h the di mi nuti on of the extreme intercolumniations of the facade . . . to indicate, as its purpose, the exaggeration o f . . . the apparent size of the building. It is common to the Greek temples of the best epoch." 138 Szegedy-Maszak Figure 20. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). Figure of Victory, from the Temple of Victory, High Relief, 1869. Car bon pr i nt . H : 23.8 c m ( 9 W) ; W: 18.3 c m ( 7 3 / i 6 ") . Mal i b u, The J. Paul Get t y Mus eum 84.X0.766.4.25. Figure 21. Wi l l i a m James St i l l man ( Amer i can, 1828 1901). Fragment of Frieze from the Parthenon, 1869. Car bon pr i nt . H : 18.9 c m ( 7 7 / i 6") ; W: 23.9 c m ( 9 7 / i 6") . Mal i b u, The J. Paul Get t y Mus e um 84.X0.766.4.26. at least qualify, its ostensible scientific purpose. As i n the earlier study o f the theater o f Di onysus, a piece o f sculpturehere a small square vot i ve reli ef showi ng a group o f four menhas been placed i n the scene to give i t some narrative content. On a much reduced scale, i t recalls the procession on the Parthenon frieze. St i l l man ends his exami nat i on o f Athena's temple by r et ur ni ng to the eastern facade but fr om a much greater distance than before (fig. 19). By usi ng a second negative, the retouch- i ng he disclaimed i n the preface, St i l l man has fi lled the sky wi t h l ower i ng clouds that are more Ruski ni an than Sophoclean. The dramati zati on o f the site reaches its cli max i n this apotheosis o f the Parthenon. There fol l ow several studies o f the Erechthei on, and fi nally the last t wo images i n the al bum depict details o f the sculptural pr ogr am: a wi nged vi ct or y fr om the para- pet o f Athena Ni ke, goddess o f vi ct or y (fig. 20) and a panel fr om the Parthenon's Panathenaic frieze (fig. 21). Wi t h such an understated coda, St i l l man returns to Greek art to summari ze his themes o f Helleni c t r i umph and democratic uni ty. The Acropolis of Athens is uni que i n several respects. St i l l man is aware o f the t radi t i onal document ary ap- proach and sometimes adopts its style, but he also uses the special properties o f photography to convey his pr i - vate vi si on o f what has been called "the Greek miracle." I n its combi nat i on o f the personal, the epic, and the scientific, Stillman's wo r k goes far beyond the con- venti onal architectural photography o f his t i me. It embodies bot h Romanti c phi lhelleni sm and the ni ne- teenth-century opt i mi sm that allied the moderns wi t h the ancients i n a bond o f enli ghtened understanding. I n thei r different ways, the wor ks o f St i l l man and Bonfi ls mar k the end o f the most creative peri od i n the photography o f classical sites i n At hens. 5 8 Expl or at i on and discovery were bei ng transformed i nt o somet hi ng more routi ne. I n photography, the fi eld was left to the many small local studios that had sprung up to ser- vice the gr owi ng tourist industry. To the extent that they too were i n the business o f supplyi ng true i llusi ons, they were the descendants and beneficiaries o f thei r predecessors. Wesleyan Uni ver si t y Mi ddl et o wn, Conn. 58. See Gary Edwards i n the Benaki Museum catalogue (supra, note 15), pp. 23-24. Die Bathseba des Giovanni Bologna Herbert Keutner I m Jahre 1970 hat Gunnar W. Lundber g die damals i m Schl o Aker befindliche, selbst i n Schweden nur l okal bekannte Mar mor fi gur einer Bathseba erstmals der kunst- historischen ffent l i chkei t vorgestellt ( Abb. 1). Al t e- ren Invent aren folgend betrachtete er die heute i m J. Paul Getty Museum ( Abb. 2; I nv. 82.SA.37) aufbe- wahrte Statue als eine Sch pfung des Giovanni Bologna. 1 Ei ne Di skussi on ber das Werk brachte Charles Avery i n Gang, i ndem er i m Jahre 1978 einen seit lan- gem unbeachteten Wachsbozzetto einer Frau, auf einem Baumstumpf sitzend, ohne Ko pf und Ar me i n die Gi am- bolognaAusstellung einbezog und die klei ne Fi gur mi t vorgenei gtem Ob er k r per und hochgestelltem l i n - ken Bei n i m Katalogtext mi t guten Gr n d e n als eine Studie zu dem Mar mo r wer k i n Schweden i n Er w g un g zog. 2 Zu der Statue selbst schrieb er, dai n i hr eine von zwei bisher verschollenen, von Raffaello Bor ghi ni i m Jahre 1584 er w hnt en Werken des Bildhauers erhalten sein k nnt e: entweder eine Galathea, die sein M zen Bernardo Vecchi etti an einen ungenannten Empf nger i n Deutschland gesandt hatte, oder eine Sitzende, weib- liche Figur ohne Namen, die die Medi ci dem Her zog von Bayern geschenkt hatten. 3 F nf Jahre spt er hat Avery i n einer reich i llust ri er- ten Abhandl ung die berli efert e At t r i but i on der Fi gur durch eine sorgflt i ge Beschreibung, durch Hi nwei se auf die besonderen Mer kmal e i hrer Komposi t i on und Ausarbei tung i n ber zeugender Weise best t i gt . 4 Er hat die Besitz Verhltni sse und Schicksale des Werkes i n Schweden wei tgehend kl r en und i hre Her kunft aus Deutschland glaubhaft darlegen k nnen. Das i m Aus- stellungskatalog schon aufgeworfene Problem aber, welche der bei den nach Deutschland gelangten Fi - gurendie Galathea oder die namenlose Sitzendemit der Bathseba fr das Oeuvre des Meisters zur c kgewo n- 1. G. W. Lundberg, "Ngr a bronser ur Carl Gustaf Tessins skulptursamling," Konsthistorisk Tidskrift 39 (1970), 113-115, Abb. 11. Lundberg zitierte die berlieferte Zuschreibung mi t Vorbehalt, doch ohne seine Bedenken zu erlutern. 2. C. Avery, Giambologna 1529-1608. Sculptor to the Medici, 1. Aufl. (Edinburgh-London, 1978), 233, Nr. 248 mi t Abb., oder Giambologna 1529-1608. Ein Wendepunkt der europischen Plastik, 2. Aufl. (Edin- burgh-London-Wi en, 1978), 308-09,. Nr. 248 mi t Abb. 3. R. Borghi ni , // Riposo (Firenze, 1584), 286-87. nen sei, li e er nach der Er w g un g beider M gl i c hkei - ten nach wi e vor offen. Da erst die Beant wor t ung dieser Frage erlaubt, dem neuen Werk seinen Platz i nnerhalb der knst l er i schen Ent wi ckl ung des Bildhauers zuzu- weisen, greife i ch sie noch ei nmal auf und beginne mi t einer erneuten Interpretati on der beiden Textstellen bei Raffaello Bor ghi ni . Di e Lebensbeschreibung des Gi ovanni Bologna hatte Bor ghi ni mi t einer kurzen Schi lderung seiner Lehrzeit i n Flandern, seiner r mi sc hen Studien und seiner ersten Auseinandersetzung mi t der Florentiner Skulptur als Gast i m Hause des Bernardo Vecchietti eingeleitet. Nachdem er die staunenswerte Ferti gkei t des j ungen Bildhauers i m En t wur f von Ton-und Wachsmodellen hervorgehoben hatte, verzeichnete er als sein erstes, i n Florenz geschaffenes Werk "una bellissima Venere," zu der i h m sein Gastgeber den Mar mo r beschafft habe. 5 Nach ei nem Hi nwei s auf seine Teilnahme an der Konkur r enz um den Neptunbrunnen auf der Piazza della Signoria beschrieb er als zweites Werk: "Lavor una Galatea di mar mo d'altezza di due braccia e mezo, che fu da M, Bernardo mandata nella Lamagna." Als dri tte Figur, ausgefhr t fr Lattanti o Cortesi , nannte er sodann " un Bacco di bronzo di braccia quattro." Zu den Entstehungszeiten dieser drei Werke besitzen wi r keine dokumentari schen Belege, doch n i mmt man mi t Recht allgemei n an, da Gi ovanni Bologna diese Pri vat- auft rge i n seinen ersten Florenti ner Jahren zwi schen 155355 und 156061 ausgefhr t hat; vo m Jahre 156061 an, i n dem i hn der Pri nz Francesco de' Medi ci i n seinen per s nl i chen Di enst genommen hatte, konnte er dergleichen Auft r ge bis auf weiteres ni cht mehr annehmen. 6 Zei t l i ch nach der um 155557 gemei el t en 4. C. Avery, "Giambologna's 'Bathseba': An Early Marble Statue Rediscovered," The Burlington Magazine125 (1983), 340-49. 5. Uber diese nicht i n Marmor sondern i n Alabaster ausgefhrte kauernde Venus, die sog. Venus Vecchietti, siehe: Giambologna ( Anm. 2), 2. Aufl., 22 und 104, Nr. 23 mi t Abb., sowie: H. Keutner, ' ' Gi am- bologna. I I Mercurio volante e altre opere giovanili, " Lo specchio del Bargello 17 (Firenze, 1984), 5-14. 6. Sptestens seit dem Frhjahr 1560 stand Giovanni Bologna i n Diensten des Prinzen Francesco, der i hm die Teilnahme an der 2. 140 Keutner Abb. 1 Gi ovanni Bol ogna (i tal., 15291608). Bathseba. Al t e Aufst el l ung i m Treppenhaus i n Sc hl o ker , Schweden. Phot o: mi t freundli cher Genehmi gung, Nor di ska Museet, St ockhol m. Venus ( Col l . Sir Wi l l i am Penni ngt on Ramsden, Mu n - caster Castle) und vor dem um 155961 gegossenen Bac- chus (Florenz, Bor go San Jacopo) entstanden, wi r d er die Galathea um 155759 geschaffen haben. 7 Nach der Er w h n un g weiterer, i n den 60er Jahren vollendeter Werke, berichtete Bor ghi ni ber die Mar - mo r aus f hr ung der fnf Bracchien hohen Gruppe der "Firenze, che ha sotto un pr i gi one" und fuhr i n dem- selben Satz fort: "e nel medesi mo t empo ( lavor ) un altra fi gura di mar mo sedere della grandezza d' una Konkurrenz um den Neptunbrunnen finanziell erm gli cht hatte; die entsprechenden Zahlungen sind publiziert: H. Keutner, " Un modello del Bandinelli per i l Nettuno della fontana di Piazza della Signoria," i n Scritti di Storia dellArte in onore di Roberto Salvini (Firenze, 1984), 42223, Anm. 10. Ei n festes, von Francesco gezahltes Gehalt an den Bildhauer ist seit 1561 beglaubigt, siehe: E. Dhanens, Jean Boulogne. Gio- vanni Bologna Fiammingo. Douai 1529-Florence 1608 (Brssel, 1956), 49. fanciulla di sedici anni, la quale statua fu mandata al Duca di Baviera;" anschl i eend schrieb er ber die Aus- arbei tung der vi er gr o en Fi guren fr den Okeanus- hrunnen i m Boboli gar t en. 8 De m Vitenverfasser folgend mu Gi ovanni Bologna die Fi gur der Sitzenden also etwa gleichzeitig mi t der Firenze und vor der Fertigstel- l ung des Okeanusbrunnens gemei el t haben. Da wi r aus Dokument en wissen, da er die Mar mor gr uppe der Firenze als Siegerin ber Pisa i n den Jahren 157072 und den Okeanusbrunnen i n den Jahren 157276 ausgefhr t 7. M. Bury, "Bernardo Vecchietti, Patron of Giambologna," I Tatti Studies. Essays in the Renaissance 1 (1985), 26. Bury schlug fr die Bronzestatue des Bacchus j ngst eine Entstehungszeit um die Mi t t e der 1550er Jahre vor; nach meiner ber zeugung ist jedoch die bisher bliche, zwischen 155859 und 156162 nur geringfgig schwan- kende Datierung einleuchtender zu begrnden. 8. Borghi ni ( Anm. 3), 586-87. Die Bathseba 141 Abb. 2. Gi ovanni Bol ogna (i tal., 1529-1608). Bathseba. Mar mo r . H: 115 c m (45V 4 "). Mal i b u, The J. Paul Get t y Mus eum 82.SA.37. hat, dr fen wi r als Entstehungszeit der namenlo- sen, nach Bayern gesandten Sitzenden etwa die Jahre 157173 ansetzen. 9 Raffaello Bor ghi ni hat die Werke des befreundeten Bildhauers i m gr o en und ganzen zuverlssi g i n i hrer zeitlichen Abfolge verzeichnet, so da kei n Gr und be- steht, die seinem Text zu entnehmenden, annher nden Dat i erungen der Galathea um 155759 und der Sitzen- den um 157173 i n Zwei fel zu ziehen. Dies aber besagt, da die beiden Fi guren i n ei nem Abstand von zehn bis 9. Zur Marmorgruppe der Firenze siehe: E. Allegri und A. Cecchi, Palazzo Vecchio e i Medici. Guida storica (Firenze, 1980), 27173. Zur Ausfhrung der Marmorfiguren des Okeanusbrunnens siehe: B. H. Wiles, The Fountains of Florentine Sculptors and Their Fol- lowers from Donatello to Bernini (Cambridge, Mass., 1933), 6162 und 121-23, sowie E. Dhanens, Anm. 6, 167-68. 10. Avery ( Anm. 4), 344-47. fnfzehn Jahren entstanden sind, die erste noch als ei n Fr hwer k des 28 bis 30j hr i gen Meisters, die zweite als eine Sch pfung aus seinen besten Mannesjahren. Nun ist die Bathseba ni cht unversehrt erhalten; neben ei ni gen klei neren Er g nzungen ist vor allem die li nke, erhobene Hand mi t dem Gef erneuert (Abb. 2). Da sie ur spr ngl i ch eine Muschel oder eine Koralle, die At t r i but e der Galathea, vorgewiesen haben k nnt e, schl o Aver y ni cht aus, da i n unserer Fi gur dieses frhe, von Bor ghi ni berli efert e Werk wiedergefunden sei. 1 0 Do c h welchen Gegenstand auch i mmer sie einst i n i hrer Li nken getragen haben mag, die M gl i chkei t , un- sere Fi gur mi t der um 155759 gemei el t en Galathea gleichzusetzen, sollte ni cht wei t er hi n er r t er t werden. Gegen eine solche Identi fi zi erung spricht zunchst , da Bor ghi ni sie als 272 Bracchien, also als 146 cm hoch beschrieben hat, unsere Bathseba aber nur eine H h e von 115 c m aufweist. Vor allem aber wi r d man sie aus stilistischen Gr n d e n ni cht als ei n Fr hwer k der 50er Jahre, der Zei t der Auseinandersetzung Gi ovanni Bolognas mi t der Ant i ke und der zei t gen ssi schen Florenti ner Skulptur betrachten dr fen. Bei all seinem Bestreben i n j enen ersten Jahren, auch die eigenen knst l er i schen Vorstellungen schon zur Gelt ung zu bri ngen, lassen seine fr hen Sch pfungen doch i mmer die Vorbi lder deutli ch erkennen, von denen er ausging oder mi t denen er wetteiferte. So ist vor der um 155557 datierbaren Venus i n Muncaster Castle die Ab hngi gkei t von der anti ken, kauernden Venus des Doidalses ebenso offenkundi g wi e vor dem um 155961 entstandenen bronzenen Bacchus sein Be m he n , sich i n Komposi t i on und Model l i er ung dem Perseus des Cel l i ni oder dem Mars des Ammannat i eb enb r t i g zu zeigen. 1 1 Vor unserer Bathseba aber kommen uns dergleichen R c k- oder Quer b ez ge auf Skulpturen lterer Mei ster ni cht i n den Sinn. Al s ei n Werk, das i n Er fi ndung und Ausf hr ung offenbar allei n aus der Auseinanderset- zung des Bildhauers mi t sich selbst entstanden ist, mu es einer spt er en Phase seiner Kunst angeh r en. So z ger n wi r ni cht, i n der Bathseba die zweite namen- lose, aus Florenz nach Deutschland gelangte Fi gur wiederzuerkennen. Da Bor ghi ni i n der ei nem Her zog von Bayern ge- schenkten Statue t at schli ch unsere Bathseba beschrieb, 11. Benvenuto Cellinis Perseusgruppe unter der Loggia dei Lanzi ist i m Apr i l 1554 enthllt worden; der Mars des Bartolomeo Ammannati i m Treppenaufgang der Uffizien war sptestens i m Juni 1559 voll- endet, siehe: F. Kriegbaum, "Ei n verschollenes Brunnenwerk des Bartolomeo Ammannati, " Mitt. d. Kunst. Inst. Florenz 3 (192930), 86, Anm. 3. 142 Keutner Abb. 3 Giovanni Bologna (ital., 1529-1608). La Fiorenza. Abb. 4. Giovanni Bologna (ital., 1529-1608). Firenze als Bronze. H: 115 cm (4574"). Florenz, Villa Petraia. Siegerin ber Pisa. Marmor. H: 260 cm (1027s"). Photo: mi t freundlicher Genehmigung, Kunst- Florenz, Museo Nazionale del Bargello. historisches Institut Florenz; Luigi Arti ni . Photo: mi t freundlicher Genehmigung, Kunst- historisches Institut Florenz; Lui gi Ar t i ni . Die Bathseba 143 Abb. 5. Bathseba. Siehe Abb. 2. Abb. 6. Firenze als Siegerin ber Pisa. Siehe Abb. 4. Phot o: mi t freundli cher Genehmi gung, Kunst - historisches I nst i t ut Florenz; Lui g i Ar t i n i . 144 Keutner Abb. 7. Rechte Hand der Bathseba. Siehe Abb. 2. Abb. 8. Li nke Hand der Firenze. Siehe Abb. 4. Phot o: mi t freundli cher Genehmi gung, Kunst hi s- torisches I nst i t ut Florenz; Lui g i Ar t i n i . geht i m Gr unde schon aus den weni gen Hi nwei sen auf i hre uer e Hal t ung und i hre Gr e hervor: die j unge Frau i n vo l l ent wi ckelt en K r per f o r men ist als eine "fi gura di mar mo sedere" dargestellt und sie ist un- t er l ebensgr o ausgefhr t oder, wi e Bor ghi ni es aus- dr ckt e, "della grandezza d'una fanciulla di sedici anni , " also i n der Gr e eines noch heranwachsenden M d - chens. 1 2 Dar b er hinaus erscheint die I dent i t t der um 157173 datierbaren Sitzenden mi t der Bathseba vollends gesichert, wenn wi r sehen, wi e eng sie mi t der nach Bor ghi ni gleichzeitig gemei el t en Mar mor gr uppe der Firenze oder auch mi t anderen Werken aus denselben Jahren durch gemeinsame St i lmerkmale verbunden ist. So ist die Bathseba als eine Gestalt von kr ft i ger Statur veranschaulicht ( Abb. 2), von einer gesunden K r per - flle, wi e sie Gi ovanni Bologna nur i n diesen Jahren seinen wei bli chen Fi guren verliehen hat, etwa der um 157072 gegossenen Brunnenstatue der Fiorenza ( Abb. 3), der um 157374 ausgefhr t en Statuette der Astro- nomie und nat r l i ch der Firenze als Siegerin ber Pisa ( Abb. 4). Al l e ihre K r per si nd gr o f o r mi g entworfen, aus wei t gew l b t en Partien und fest gerundeten Gl i ed- mae n gleichsam zusammengesetzt. Un d allen ist eine mehr straffe als nachgiebige Epi dermi s gemeinsam, die dem Betrachter die Ub e r g n g e des einen K r per t ei l s i n einen anderen, etwa i m Schulterbereich, i n der H f t - partie oder i n den A r m- und Kni ebeugen verhehlt, die i hn Gelenke, Sehnen oder Muskel n nur erahnen lt. Dennoch, die zarte, selbst dem sich n her nden Auge ni cht unmi t t el bar wahrnehmbare Bi nnenmodel l i er ung ( Abb. 5, 6)leichte Erhebungen und Ei nzi ehungen der Haut ber Rumpf und Gli edern, eine m i g vertiefte 12. In derselben Weise umschrieb Borghi ni ( Anm. 3), 587, den unterlebensgroen Fliegenden Merkur als "grande come un fanciullo di 15 anni." 13. Zur Charakterisierung dieser Stilphase siehe: H. Keutner, "Di e knstlerische Entwi cklung Giambolognas bis zur Aufrichtung der Gruppe des Sabinerinnenraubes," i n Giambologna ( Anm. 2), 2. Aufl., 25-28. 14. Die i n den Jahren 1569 bis 1573 modellierten Stuckfiguren des Cosimo und des i n manchen Teilen restaurierten hl. Markus, die David Summers i n seinem Art i kel "The Sculptural Program of the Cappella di San Luca i n the Santissima Annunziata," Mitt. d. Kunsth. Inst. Flo- renz 14 (1969), 6790, an je zwei Bildhauer, an Andrea Corsali Giovanni Bologna und an Vincenzo DantiZanobi Lastricati, zugeschrieben hat, sind nach meinem Urt ei l Werke Giovanni Bolo- Die Bathseba 145 Rckenl i ni e, weni ge Bauchfalten und einzelne Gr b - chen i n der Ge s r un d un g oder i m El l bogenar t i ku- li ert die Hal t ung der K r per zwar nur unmer kl i ch, tei lt insgesamt aber den Fi guren dieser Jahre bei aller Typi - sierung ihres Aufbaus und aller Gl t t e ihres Auenb i l - des auch freie Bewegli chkei t und innere Belebung mi t . Gr o z gi g entworfene Gr undfor men und doch ei n- fhl same Model l i er ung, die diesen Frauengestalten i hre unper s nl i che, aber ni cht unnahbare Sch nhei t ver- leihen, si nd nat r l i ch auch i n der Ei nzel ausfhr ung etwa i hrer H n d e oder K pfe zu beobachten ( Abb. 7, 8). Ohne jede Ausarbei tung der Kn c hel , Sehnen oder Ader n gleiten aus den Handgelenken die Han d r c ken und aus i hnen die Finger fast zsur los hervor, und doch si nd die H n d e mi t i hrer samti g wei ch modelli ert en Haut und den schmalen, fei ngli edri gen Fi ngern als uer st empfi ndsam veranschaulicht. Auch die K pfe, die Frisuren und Gesichter der Astronomie, der Bathseba und der Firenze si nd ohne sonderliche I ndi vi du- alisierung belassen, St i r n und Augen, Mun d and Ki n n wi r ken i n i hren einfachen Formen und i n i hr em Ver- hlt ni s zueinander wi e kanoni sch vorgezeichnet ( Abb. 911). Dennoch fi nden wi r i nnerhalb der ei nhei tli chen, modi sch bedi ngten Frisuren die Z pfe und Locken unterschiedlich kunst vol l geordnet, sehen bei aller Re- gungslosi gkei t der Gesi cht szge doch die Wangen und Augen oder die Mun d - und Ki nnpar t i e durch die be- hutsamste Behandlung der Ober fl chen von st i llem Leben durchpulst. Diese Vergleiche m g e n gengen, umvo n Bor - ghi ni s Not i zen ausgehenddie Jahre 157173 als die Entstehungszeit der Bathseba anzusetzen und sie als die von den Medi ci nach Bayern geschenkte Fi gur zu i den- tifizieren. Innerhalb der Kunst des Gi ovanni Bologna entstand sie als ei n Haupt wer k jener Ent wi ckl ungs- phase, die man i n wei t en Grenzen mi t den Jahren 1565 und 1575 abstecken kann. 1 3 Von den stilistischen, den Werken dieser Jahre ei gent ml i c hen Mer kmal en abgese- hen, ist es i m Gedanken an die Komposi t i on unserer Sitzenden aufschl ur ei ch festzustellen, da sich der Bi ldhauer zu keiner anderen Zei t so anhaltend mi t den Problemen der Sitzstatue beschft i gt hat wi e i n diesem Jahrzehnt, etwa i n den beengt sitzenden Fi guren des Cosimo als Josua oder des hl. Markus i n der Akademi e- kapelle, i n der aufrecht sitzenden Architektur, i n den un- gnas. Die Komposition der Architektur wi r d allgemein um 157072 angesetzt; die ori gi nalgroen Stuckmodelle der Flug tter waren sptestens i m Herbst 1572 vollendet, zu der Zeit, zu der sie probe- weise am Brunnen versetzt worden waren. 15. Dorothea Diemer, Peter Diemer und Johannes Erichsenals Kunsthistoriker heute die besten Kenner der Mnchener Archive teilten mi r freundlicherweise mi t, da auch sie whrend ihrer lang- bequem hockenden Flugttern des Okeanusbrunnens, sowie schli eli ch i n unserer, i n labi lem Sitz sich vor - neigenden Bathseba. 14 Fr die Beschaffung des Mar mor blocks, fr seine Bossierung oder die Ferti gstellung unserer Fi gur sind bis heute keine Zahlungsdokument e bekannt oder auf- gefunden worden. Auch die Suche nach anderen fr hen Nachri chten, die Durchsi cht der Korrespondenz der Medi ci mi t den Wi ttelsbachern i m Florentiner Staats- archiv und Stichproben i n den M n c he n e r Ar chi ven bli eben ohne Er fol g. 1 5 Da anlli ch einer so ansehn- li chen Schenkung zwi schen den Partnern mi t Sicherheit ei n Briefwechsel gefhr t wor den war, ist zu hoffen, da er i n Zukunft noch ans Li cht kommt . Ange- sichts dieser negativen Ergebnisseohne Dokument e aus der Zei t des Auftrags, der Ausarbei tung und Uber - fhr ung der Fi gur nach Bayer nk nnen wi r die frhe Geschichte der Bathseba ni cht endgl t i g befriedigend aufklren, k n n e n vor allem ber zwei , durch Bor ghi ni s Text aufgeworfene Fragen nur unsere Mut - maun g e n anstellen: ber die Frage nach der ur s pr ng- li chen Benennung und Bedeutung der ledi gli ch als "fi gura di mar mo sedere" verzeichneten Statue, so- wi e ber die Frage nach der nur allgemei n als "Duca di Baviera" er w hnt en Person des Empf nger s und ersten Besitzers. Ohne Wissen um die aus der schwedischen Uberli efe- r ung bekannte Deut ung der Fi gur als Bathseba, w r d e wo hl ei n jeder die anti ki sch nackte Gestalt fr eine Venus oder eine Nymphe halten. Ei ne Bathseba w r d e man i n i hr umso weni ger vermut en, als das Thema der ver fhr er i sch sc h nen Gemahl i n des Uri as allzeit nur i n Malerei , Graphi k und Reliefkunst und nur i n er zh- lender For m dargestellt wor den ist, meist als ei n Bi l d der Bathseba, von David beim Bade beobachtet, seit dem 16. Jahrhundert vereinzelt auch als Bathseba bei der Toilette von Mgden bedient. Aus solchen szenischen Zusammen- hngen aber her ausgel st und dem Betrachter i n ei nem Geml de oder gar i n einer Skulpt ur als Ei nzelfi gur pr - sentiert, ist sie i n der Geschichte der Kunst und I kono- graphie schlechterdings unbekannt. 1 6 So ist es, wenn auch ni cht beweisbar, doch sehr wahrschei nli ch, da Gi ovanni Bologna unsere Sitzende als eine Gestalt jhri gen Studien unsere Bathseba i n den 1570er Jahren nicht erwhnt gefunden haben. 16. E. KunothLeifels, Stichwort Bathseba, Lexikon der christlichen Ikonographie, 8 Bde. (RomFreiburgBaselWien, 196876), Bd. 1, Sp. 254-58. 146 Keutner der Myt hol ogi e ent worfen und ausgefhr t hatte. Ihre Umdeut ung von ei nem anti ken Si nnbi ld wei bli cher Sch nhei t i n ei n alttestamentarisches i n der Person der Bathseba wurde, wi e wi r vermut en, i n Bayern, dem deutschen Ker nland gegenreformatorischen Geistes, vor genommen: als Bathseba, die sch ne Gemahl i n des K ni gs Davi d und Mut t er Salomos, konnte i hr Mar - mor bi l d i n der herzogli chen Residenz unei nges c hr nk- ter Bet racht ung und Bewunder ung dargeboten werden. Ferner mu vorerst offen bleiben, an welchen "Duca di Baviera" Francesco de' Medi ci unsere Fi gur gesandt hatte, an den regierenden Her zog Albr echt V. (152879) oder an einen seiner S hne, die Her z ge Wi l he l m (1548-1626), Ferdinand (1550-1608) oder Ernst (15541612). Seit der Ver schwger ung der Huser Medi ci und Wi ttelsbach i m Jahre 1565, seit der Hochzei t Francescos mi t Johanna von Osterreich, der j ungen Schwester von Albrechts V. Gemahl i n Anna, hatten sich die Verbi ndungen zwi schen Florenz und M n c h e n spr bar belebt. Do c h es war ni cht der fr die zei t gen s- sische Kunst Italiens weni g aufgeschlossene Albr echt V , der die vermehrt en Kont akt e pflegte, sondern die j ungen Her z ge. Unt er i hnen wi r d man als Empf nger der Statue ni cht so sehr an den j n g s t e n Her zog Ernst, den spt er en Erzbi schof und Kur fr st en von K l n, 1 7 als vi elmehr an seine lt er en Br der denken. Den Thr o n- folger Wi l he l m wi r d man i n Er w g un g ziehen, wei l er nach seiner Hochzei t mi t Renata von Lot hr i ngen i m Jahre 1568 bis zu seinem Regi erungsantri tt i m Jahre 1579 die Bur g Trausnitz i n Landshut als glanzvolle Residenz ausbauen und, ab 1573 unter der Lei t ung des Vasari- schl er s Fri edri ch Sustris ( um 154099), mi t allen Ei n - ri cht ungen der Repr sent at i on eines Renai ssancefr st en ausstatten li e. Neben vi elerlei anderen Di ngen zur Auszi erung von Schl o und Garten erbat und erhielt er von Francesco auch Ent w r f e fr einen Br unnen und eine Grottenanlage. 1 8 Man wi r d aber auch an Her zog Ferdinand denken, der als Abgesandter seines Vaters zur Hochzei t Francescos i n Florenz wei lte, w hr e n d dieses Aufenthaltes die Kunst und den Kunstbetri eb i n der Stadt kennenlernte und alle bedeutenderen Ki r chen aufsuchte. I n seinem Reisetagebuch hob er vor allem die Besi chti gungen der Medi ci gr ber Mi chelangelos und 17. Als junger Bischof von Freising verbrachte Ernst i n den Jahren 1574 und 1575 einen Bildungs- und Erziehungsaufenthalt i n Rom. In seiner Korrespondenz aus dieser Zeit befindet sich vom 10. Februar 1575 ein Dankbrief an Francesco fr die Ubersendung einer statua, die jedoch weder nach Thema, noch nach Gr e oder Material beschrieben ist (ASF, Mediceo 4281, lett. 102). Da es sich i n ihr um die Bathseba gehandelt haben k nnte, halte ich fr ausgeschlossen. 18. In dem ber ein Jahrzehnt hi n anhaltenden Geschenkeaustausch zwischen Francesco und Wi lhelm war der letztere meist der empfan- gende Partner, siehe: B. Ph. Baader, Der Bayerische Renaissancehof der Fresken Pontormos i m Chor von San Lorenzo her- vor, aber auch die Besuche der Gi eer ei bei S. Mar co und des Gartens und der Br unnen der Vi l l a Castello. 1 9 Ohne Ehrgei z i n den St aat sgeschft en, wel t l i ch geson- nen, ei n Freund und Sammler der K n s t e un d selbst i n i hnen di letti erendhat er, seiner Florenti ner Ei n- dr cke stets eingedenk, i n den 70er Jahren i n M n c h e n eine Gi eer ei ei nri chten lassen. I n den spt en 80er Jahren hat er dann vor seinem Palast am Ri nder mar kt von Huber t Gerhard ( um 15501622/23), den Sc h p- fungen Ammannati s und Giovanni Bolognas nacheifernd, einen vielfigurigen Brunnen ausfuhren lassen, den ersten "i tali eni schen" Monument al br unnen n r dl i ch der A l - pen. 2 0 Diese weni gen Hi nwei se auf Verbi ndungen der Her z ge Wi l he l m und Ferdinand zum Florenti ner Ho f m g e n zur Gen ge b egr nden, war um wi r i n ei nem von i hnen den ersten Besitzer der Bathseba vermut en. Do c h ni cht nur aus den ersten Jahren, auch aus den nachfolgenden Jahrzehnten l i een sich keine Nachr i ch- ten ber unsere Fi gur er mi t t eln; i n keiner der bis heute bekannten Li sten oder Inventare des fr st li chen Kunst - besitzes aus dem spt en 16. oder fr hen 17. Jahrhundert fand sich i hre Existenz oder Aufst ellung i n M n c h e n oder an ei nem anderen Or t des Her zogt ums vermerkt. Dennoch hatte sich Raffaello Bor ghi ni i n seiner Mi t - t ei lung ber die Versendung der "fi gura di mar mo sedere" an einen "Duca di Baviera" ni cht gei rrt. Da sich die Bathseba t at schli ch i m Besitz der bayerischen Her z ge befunden hat, ist uns frei li ch erst aus einer Zei t dokument i ert , zu der sie i n M n c h e n schon ni cht mehr vorhanden war. I n einer auf brei ten Ar chi vst udi en fuenden Abhand- l ung ber "Entstehung und Ausbau der Kammergaleri e Maxi mi l i ans I . von Bayern" hat uns Peter Di emer i m einzelnen auch ber die Pl n d er un g des fr st li chen Kunstbesitzes i n M n c he n durch K n i g Gustav Ad o l f i m Mai 1632 und ber die i m Jahre 1635 aufgenommene Neuei nr i cht ung der Sammlungen durch den seit 1598 regierenden Maxi mi l i an I . (15731651) unterri chtet. 2 1 Zu den teils erfolgreichen, teils erfolglosen B e m h un - gen um eine Wiederbeschaffung der ent fhr t en Be- Herzog Wilhelms V. (LeipzigStraburg), 1944, passim. 19. Das Tagebuch der Reise Ferdinands zur Hochzeit des Prinzen Francesco nach Florenz liegt i m Geheimen Hausarchiv, Mnchen, Akt . 924. Ei n zweites Exemplar befindet sich i m Hauptstaatsarchiv, Mnchen, Frst ent om 26, 184. 20. Uber Geschichte und Schicksale des seit dem frhen 17. Jahr- hundert i m Residenzhof aufgerichteten Brunnens siehe: D Diemer, "Bronzeplastik um 1600 i n Mnchen. Neue Quellen und Forschun- gen. Teil I und I I , : " Jahrbuch des Zentralinstituts fir Kunstgeschichte 2 (1986), 107-177 und 3 (1987) i m Druck, dort der Abschnitt: "Hubert Die Bathseba 147 st nde ver ffent li cht e Di emer als Beispiel einer ver- geblichen Recherche Maxi mi l i ans I . den Auszug aus ei nem Brief, i n dem der Amberger Rentmeister Sick- henhauer am 21. Jul i 1635 eine Anfrage des Herzogs nach dem Verbleib der von den Schweden zunchst nach N r n b e r g verbrachten Kunstwerke; der uns betreffende Abschni t t des Schreibens lautet ins Neuhochdeutsche ber t r agen: "I ch konnte aber nichts ber das hinaus erfahren, was mi r die Leute i n N r n b e r g schon gesagt haben und zwar, da der vor Lt zen gefallene K n i g von Schweden, als er erstmals von M n c he n wi eder nach N r nb er g kam, die l ebensgr oe Bathseba von wei - e m Mar mo r mi t sich gefhr t und das Bi l dwer k sehr bald nach St ockhol m i n Schweden verschickt hat." 2 2 Auch wenn i n dem Schreiben der Name des Meisters der Bathseba ni cht genannt ist, bedarf dessen Inhalt doch keines wei teren Komment ars. Das Dokument best t i gt ei n weiteres Mal die Ergebnisse, die wi r zunchst ber eine Interpretati on des Textes von Raffaello Bor ghi ni und sodann auf dem Weg der St i l kr i t i k gewonnen haben, da uns i n unserer Fi gur t at schli ch jene von Gi ovanni Bologna gleichzeitig mi t der Gruppe der Firenze gemei el t e, an den bayerischen Ho f gesandte Sitzende erhalten ist. Dar b er hinaus unterri chtet uns das Dokument , da man die i m Jahre 1632 nach Schwe- den verbrachte Statue schon i n Bayern als Bathseba betrachtet hat. 2 3 Abschl i eend noch einige Beobachtungen zur Er hal - t ung unserer Figur. I hr gegenwr t i ger , auf den ersten Bl i ck makellos wi r kender Zustand ist, wi e wi r wissen, das Ergebnis einer i m Jahre 1981 dur chgefhr t en Her - ri cht ung, zu einen Zei t also, zu der sich die Fi gur noch i m Kunsthandel befand. Aus dem Beri cht des Restaura- tors erfahren wi r , 2 4 da er neben einer sorgfltigen Rei ni - gung und geringen Ausbesserungen der Mar mor ober - flche die verlorenen Zehen des l i nken Fues und die Nasenspitze ergnzte, da er die Sockelplatte und Plinthe verndert e und schlielich die als eine ltere Restaurie- rung vorgefundene li nke Hand mi t dem Gef entfernte und i n anderer Weise erneuerte ( Abb. 2). I n der Ab b i l - dung der Bathseba auf i hr em fr her en Aufstellungsplatz Gerhards Brunnen fr Herzog Ferdinand von Bayern." 21. Siehe: Quellen und Studien zur Kunstpolitik der Wittelsbacher vom 16. bis 18. Jahrhundert. Mitteilungen des Hauses der Bayer. Geschichte, I (1980), 140-44 und Anm. 83. 22. Der bei P. Diemer, Anm. 21 publizierte Originaltext lautet: "Ich hab aber ein mehrers nit erfahren migen, als das mi r die von N r nber g selbsten gesagt, wie das der vor Lzen Todtgebliebne Kh ni g i n Schweden, die persebea von weisem marmor i n lebens groe als derselben von Mnchen das erstemal wider auf N r nber g khomen, mi t sich gebracht, und solch bi ld als balden i n Schweeden i m Treppenhaus des Schlosses ker ist i hr Zustand vor diesen Ei ngr i ffen deutli ch zu erkennen ( Abb. 1). Von der Hi nzuf gung der Zehen abgesehen, si nd die vorgenommenen Ver nder ungen weni g glckli ch aus- gefallen. Vergleichen wi r die er gnzt e Nase der Bathseba etwa mi t den Nasen der Firenze oder der Astronomie ( Abb. 911), so fllt auf, da i hre Nasenspitze ni cht ge- rundet ausgearbeitet ist wi e diese, sondern zugespitzt, da sich Nasenspitze und Nasenfl gel also ni cht glei - c her maen zu ei nem organischen Ganzen verbi nden. Mi t der geraden, i n scharfem Wi nkel zur c kspr i ngen- den Nase erscheint i hr Pr ofi l eckiger, i hr Gesichtsaus- druck starrer, i hr Ko pf insgesamt unwei bli cher als die K pfe der beiden anderen Fi guren. Ei ne so weni g sen- sible Nase, wi e sie die Bathseba heute t r gt , gi bt es i m Oeuvre des Gi ovanni Bologna nicht. Mi t der n d e r un g der Basiszone sollte offenbar die Standfestigkeit des Bi ldwer ks ver st r kt werden ( Abb. 1 und 5). So wur de die Pli nthe unter der Sule und dem rechten Fu um mehr als das Doppelt e er h ht und die Fi gur sodann auf eine nach Sei t enl nge und H h e um ei n Dr i t t el ver gr er t e Sockelplatte versetzt. Auch wenn der Betrachter es ni cht abscht zen kann, ob die Basis nun t at schli ch t r agfhi ger geworden ist, so wi r d i h m doch dieser Ei ndr uck vermi t t elt , ei n Ei ndr uck der uer en Absi cherung und Stabilisierung der Statue, den zu erwecken Gi ovanni Bologna i n seinen Werken stets vermi eden hat. Selbst bei gewagtesten Stellungen ent- war f er seine Fi guren i mmer als sich selbst tragend und veranschaulichte das durch eine fr das Auge des Be- trachters ber pr fbar e, sorgfaltig kalkuli erte Pondera- t i on. Zur Ver mi t t l ung dieses Ei ndrucks, da die Ge- stalten i hr Glei chgewi cht selbst wahren, i hre Sicherheit selbst gewhr l ei st en, war er ni cht zuletzt darauf be- dacht, alle uer en, st t zenden oder tragenden Ele- mente auf das uner l l i ch Not wendi ge ei nzuschr nken. Deshalb richtete er seine Bronzestatuetten oder Mar - mor fi gur en stets auf unscheinbaren, flachen Pli nt hen auf und b e ma sie so knapp, da Fe und Bei wer k soeben noch Platz fi nden. Fr unsere Bathseba hatte er gar, um keine gr er e Pli nthe fr Sule und Fu ver- wenden zu mssen, fr die zur ckgeset zt e Fuspi t ze eine eigene klei ne Platte ausgeschnitten. Da er hier, nacher Stockhholben verschickht." (Bayer. Hauptstaatsarchiv, Kasten schwarz 5233, 2b). 23. Auch wenn Giovanni Bologna die Sitzende nach meiner Uberzeugung nicht als Bathseba ausgefhrt hat, sollte man aus Gr nden der Verstndigung die letztere Bezeichnung bis auf weiteres beibehalten. 24. C. Avery ( Anm. 4), 349, Appendix. 148 Keutner Abb. 9 Gi ovanni Bologna (ital., 1529-1608). Ko pf der Astronomie. Bronze. H (der Fi gur) : 38.8 c m (IS 1 /4"). Wi en, Kunsthi stori sches Mus eum I nv. 5893. Phot o: mi t freundli cher Genehmi gung, Kunst - historisches Museum, Wi en. Abb. 10. Ko pf der Bathseba. Siehe Abb. 2. aber auch i n anderen Werken, so " ums t n d l i c h" ver- fuhr, zeigt noch ei nmal, einen wi e gr o en Wert er i n der Dar bi et ung seiner Fi guren auf die uer st reduzier- ten St andflchen legte. Mi t der Ver st r kung und Ver- g r e r un g der zuvor noch wei tgehend ori gi nalen Basis- zone hat man also den knst l er i schen Vorstellungen des Bildhauers entgegengearbeitet. Schli eli ch wur de i n der Londoner Wer kst t t e die l i nke erhobene Hand mi t dem klei nen Gef, wo hl als eine unpassend empfundene, ltere Er g n zun g entfernt ( Abb. 1) und durch eine andere mi t unglei ch gr er er Vase ersetzt. Wi e der glatte Schnitt unterhalb des Hand- gelenks anzeigt, war die b emngel t e Hand i n fr her er Zei t ni cht abgebrochen und wiederangesetzt, sondern 25. Zuletzt publiziert von C. Avery ( Anm. 4), 348, Anm. 34 und 35. Die Texte lauten i m Inventar von 1757: "En sittiande Bathseba wacker statue af Giovanni di Bologna litet skadd p hnder och ftter. 47 tumb hwi t marmor. Trpiedestal." Und i n der Liste von 1770 heites: "En sittande Bathseba, sk n statue af Giovanni di Bologna, gnzli ch erneuert worden. Das mu nach 1770 gesche- hen sein, wei l aus zwei Bestandsaufnahmen der Kunst - werke i n Aker von 1757 und 1770 hervorgeht, da un- sere Bathseba damals "an H n d e n und F en ei n weni g beschdi gt " war . 2 5 Da kei n Gr und besteht anzunehmen, da die Schden i n den beiden Li sten besc h ni gt sind, wi r d die Hand t at schli ch nur ger i ngfgi g verletzt gewesen sein. Di e Ver mut ung li egt also nahe, da der nach 1770 t t i ge Restaurator sie ni cht nach eigenem Geschmack sondern nach dem Vor bi l d der von i h m abgenommenen, nur beschdi gt en Hand erneuert hat- teeine b er l egung, die sich als zutreffend erweisen lt. Al s ei n Beispiel fr die hohe Ei nsc ht zung der Bathseba i n Schweden machte Aver y auf einige Gi psko- ngot skadad p hnder och ftter, 47 t um h g, hvi t Marbre de Car- rare, piedestalen af trd. 280. 26. C. Avery ( Anm. 4), 347. Uber Carlo Carove siehe: E. Andren i n Svenskt Konstnrs Lexikon (1952), Bd. 1, 288. 27. Frau Dr. Kari n Rdst r m danke ich sehr herzlich fr ihre Die Bathseba 149 Abb. 11 Kopf der Firenze. Siehe Abb. 4. Photo: mi t freundlicher Genehmigung, Kunsthistorisches Institut Florenz; Lui gi Ar t i ni . pi en aufmerksam, die der italienische Stuckateur Carlo Carove ( i n Schweden t t i g seit 166667, dort gest. 1697) ver mut l i ch um 1670 fr den pr unkvol l en Baderaum des Schlosses Ericsberg, S der manl and, angefertigt hatte. 2 6 Diese sorgflt i g hergestellten und gut erhaltenen Ko - pi en ( Abb. 12) 2 7 lassen kei nen Zwei fel daran, da der ltere Restaurator t at schli ch keine wi l l kr l i che Er g n - zung vor genommen, sondern die Hand mi t dem Gef so nachgearbeitet hat, wi e er sie vorgefunden hatte und wi e sie zumi ndest seit 1670 vorhanden war. Mi t der Erneuerung dieser Hand hat man sehr wahr - scheinlich i hr en auf Gi ovanni Bologna zur c kgehenden Zust and, 2 8 i n j edem Falle aber eine erhaltenswerte hi st o- rische Er g n zun g ohne ersichtlichen Gr und entfernt. I n Abb. 12 Carlo Carove (ital., nachweisbar ttig seit 1666, gest. 1697). Gipsabgu der Bathseba des Giovanni Bologna. H: ungefhr 115 cm (4574"). Katrine- holm, Schlo Ericsberg. Photo: mi t freund- licher Genehmigung, Schlo Ericsberg, Ka- trineholm, Schweden. der lt er en Fassung ( Abb. 12) sieht man die j unge Frau mi t beiden H n d e n gl ei cher maen zur ckhal t end be- schft i gt : mi t der Li nken hat sie i hr kleines Gef ber den Haaransatz oberhalb der l i nken St i r nhl ft e an- gehoben, w hr e n d sie mi t ei nem Tuch i n der hi nabgrei - fenden Rechten i hren Fu trocknet. Es si nd alltgli ch li ebenswrdi gen Bemhungen um die Beschaffung einer Photo- graphie von einer der 5 Kopien. Mei n aufrichtiger Dank gilt nicht minder dem Freiherrn Carl Jedward Boude, Schlo Ericsberg, fr die freundliche Erlaubnis zur Herstellung der Photographie. 28. Ich schreibe "sehr wahrscheinlich," wei l natrlich nicht gnzlich auszuschlieen ist, dadie Hand auch vor 1670 schon einmal restauriert worden ist. 150 Keutner gewohnte, anspruchslose Verri chtungen, die sie i nner- l i ch unbet ei li gt ausbt ; vor sich hi nsi nnend hngt sie anderen Gedanken nach. So empfi ndet der Betrachter die mavo l l en Regungen i hrer Ar me and H n d e i n vo l - l em Ei nkl ang mi t der leichten Nei gung ihres Kopfes, der geri ngen Bi egung ihres Rumpfes, der einfachen Hal t ung der Bei ne und begreift alle i hre Gl i edmaen als gleichwertige Komponent en eines Gesamtbildes von st i llem, beschaulichem Dasein. Heut e sieht man die Vasesie ist eine Kopi e der Bc hse der Pandora aus der Bronzegruppe des Adr i an de Vr i es 2 9 sowohl durch i hre ungew hnl i c he Gr e als auch durch den besonderen Platz ausgezeichnet, den man i hr verschafft hat ( Abb. 2): die mi t brei t em Hand- r cken unpr opor t i oni er t gr oe Li nke ist, i m Gelenk ab- gewi nkelt , ei nwr t s gefhr t und hlt die vor die St i r n- mi t t e versetzte Vase dem Betrachter wi e eine Tr ophe entgegen, zieht sein Augenmer k auf sich wi e auf ei n zentrales Obj ekt der Komposi t i on des Bi ldwer ks, wi e ei n Haupt at t r i but der dargestellten Person. Mi t der Gewi cht i gkei t aber, die man der Hand mi t dem gr o en Gef derart zugemessen hat, hob man den fr die alte Fassung so bezeichnenden Glei chklang der beiden ge- messen agierenden H n d e ebenso auf, wi e man die Ausgewogenhei t i m Gesamtaufbau der Fi gur durch einen ei genwi l l i g nach oben verlegten Akzent gest r t hat. Gi ovanni Bologna hatte gerade jegli che Bet onung eines Ei nzelmot i vs vermi eden, um unsere Aufmer k- samkeit i n der Betrachtung der unaufdri ngli chen Man - ni gfalt i gkei t seiner Sch pfung, i n der Bewunder ung der Sch nhei t der Gestalt unserer Bathseba nicht abzulenken. Florenz 29. Die 250 cm hohe Gruppe Merkur und Pandora befindet sich i n Paris, Louvre (Inv. M. R. 3270); dort wie auch i n manchen Publika- tionen findet man sie i rrtmli cherwei se als Merkur und Psyche verzeichnet. Acquisitions/1986 I N T R O D U CT I O N 153 NOTES TO T HE READER 158 A N TI QU I TI E S 159 MANUS CR I PTS 167 PAI NTI NGS 177 DRAWI NGS 188 DECORATI VE ARTS 210 S CUL PTURE A N D WORKS OF ART 216 PHOTOGRAPHS 222 TRUSTEES A N D STAFF LI ST 239 1987 The J. Paul Getty Museum Introduction The year 1986 was one o f steady gr owt h for the col- lections. The most i mpor t ant acquisitions were made fr om private sources, not at auctions, so our wo r k went on largely out o f the glare o f publ i ci t y The results o f our intensive collecti ng dur i ng the last few years be- came more and more evident i n the galleries, however, as renovations conti nued and lesser objects were reg- ularly displaced by greater ones. We conti nued to spend a good deal o f t i me wi t h our architect Richard Mei er and wi t h the Getty Trust staff i n developing plans for a new museum. It is to be i n the foothi lls o f the Santa Moni ca Mount ai ns, about t went y mi nutes' drive fr om the present Get t y Museum. Be- l ongi ng to a complex o f bui ldi ngs that i n 1993 wi l l house the various organizations o f the Get t y Trust, the museum wi l l be the largest and the onl y public part. The collections fr om the Mi ddl e Ages to 1900 wi l l be shown there, whi l e the present bui l di ng i n Mal i b u wi l l become a museum o f Greek and Roman art. We helped the Mei er office analyze the pr ogr am we had prepared over the past several years, whi ch had been combi ned i nt o an overall pr ogr am for the new Getty bui ldi ngs. Our needs were translated i nt o square footages and functi onal relationships and then, dur i ng the summer, i nt o schematic drawings. For the first t i me we could see Meier's ingenious solut i on for organi zi ng the whole complex on the hi l l , a site that poses practical problems o f every ki nd even as i t provides an i nspi r i ng place for the bui ldi ngs. We could fi nally begi n to vi sual- ize the bui ldi ngs themselves, atop the ridges, separate but nearby one another, thei r varied shape and scale reflecting thei r different purposes, thei r si mi lar formal vocabulary maki ng visual and symboli c li nks. Materials sympathetic to the landscape wi l l be used, especially stone. The pr ogr am calls for a museum o f moderate size and o f unusual shape. The collecti ons wi l l be housed i n about si xty thousand square feet o f galleries i n six separate t wo-st or y bui ldi ngs o f di fferi ng for m, l i nked by short covered or enclosed walks, so as to give as varied and pleasant an experience as possible. We want the vi si tor to be rewarded not onl y wi t h beau- t i ful l y exhi bi ted wor ks o f art but also wi t h gardens, distant views, and pauses for relaxation. As 1986 came to an end we had accepted the basic elements o f the soluti on and were wo r ki ng on refinements o f Meier's schematic design. I n Mal i bu, our ceaseless renovati on o f the bui ldi ngs conti nued. A gr owi ng collecti on and staff, and the need for more public services, have squeezed the Vi l l a bui l d- i ng and our office annex, Mr . Getty's so-called Ranch House. Galleries for antiquities, paintings, manuscripts, and photographs got the most attenti on i n 1986, so that a vi si tor who returns today after j ust a few years' ab- sence wi l l be struck by the changes i n ambience as wel l as i n the objects shown. The large basement studio for- merly used by Paintings and Ant i qui t i es Conservati on, whi ch had been vacated for i mpr oved quarters at the Ranch House, was bei ng rebui lt to serve as offices for four curatorial departments. Ameri can museums always seem to l ook li ke con- structi on sites, so all this acti vi ty does not set us apart; the rate o f our acqui si t i ons does. Bui l d i n g a di s- ti ngui shed collecti on remains our first pr i or i t y and our biggest challenge. I should li ke to revi ew some o f the progress made last year by the var i ous cur at or i al departments. FO R TH E D EP A R TMEN T O F A N TI Q UI TI ES , most major acquisitions i n 1986 were Greek. The smallest is among the most i mpor t ant we have ever made, a fi fth-century bronze statuette representing a fallen or dyi ng yout h. No other Greek bronze o f the peri od embodies the ideal o f kalos thanatos (beauty i n death) so eloquently. The complex arched and t wi st i ng pose embodies the most advanced ideas i n sculpture, wel l ahead o f any sur vi vi ng contemporary figures i n marble. We do not kno w yet how i t was ori gi nally i ntended to be seen, since i t has lost its compani ons or the landscape elements that wo ul d presumably have supported i t . Nevertheless, the dari ng pose and refined model i ng and fi ni shi ng put i t among the finest Greek bronzes that have come do wn to us. Havi ng acquired a large group o f outstandi ng Greek vases fr om Walter and Mo l l y Bareiss i n 1984, we have been addi ng onl y the choicest examples. A cup at- t ri but ed to Onesi mos stands out among the vases that came on the market last year, and indeed among all red- fi gur e vases, for its or i gi nal t reat ment o f a favori te beauty-and-the-beast theme, the encounter o f a sleep- i n g maenad wi t h an amor ous sat yr wh o creeps precari ously d o wn a c l i f f t owar d her. Thi s is At t i c draughtsmanship at its most expressive. Several terracottas fr om the Greek colonies i n South Italy were acquired i n 1986. Though terracottas are rela- ti vely abundant i n older collections o f antiquities, the Museum is st i l l bui l di ng its small but i mpor t ant group. The late archaic incense burner i n the for m o f a Ni ke 154 Walsh figure is a startli ng rediscovery. It has no kno wn parallel i n Magna Grecia where i t was made but has several At t i c precedents; almost perfectly preserved, wi t h many traces o f color, the Ni ke has all the insouciant freshness o f her sisters, the korai , at the dawn o f Greek sculpture. A pair o f terracotta altars o f a century later are also unprecedented. The reliefs show Adoni s and his at- tendants represented wi t h the mobi le poses and fluid c l i ngi ng dr aper y t hat we associate wi t h the latest f i f t h- c ent ur y stone sculpt ur e i n Greece, here exe- cuted i n a medi um nor mal l y used for molded pieces. The hi gh poi nt o f the year, however, was the pur - chase o f ten silver dr i nki ng vessels. Added to the Mu - seum's earlier holdi ngs, they help make ours the finest collecti on o f Eastern Helleni sti c silver i n the wor l d. I n ant i qui t y such silver was a t oken o f wealt h and i mper i al favor, as wel l as an artistic medi um; but i t was melted do wn by captors and thieves on such a scale that very li t t le has survived. Thus each new discovery is precious. The group o f rhyta (horn-shaped spouted vessels) is the most impressive. There are t wo rhyta wi t h l ynx pr o- t omai o f fami li ar for m, bot h bearing the makers' signa- tures i n Aramai c and pr ovi di ng invaluable i nfor mat i on for scholars. An d there are t wo rhyta wi t h uni que pr o- t omai , a l i o n and a stag, the noblest quarry o f hunters, that are among the most vi gorous ani mal representa- tions to survive i n the art o f antiquity. It was a year o f renovati on and rei nstallati on for the Depart ment o f Ant i qui t i es under its newl y appointed curator, Mar i o n True. Aft er t wo years o f study and conservation wor k, the kouros acquired i n 198 5 was placed on a specially made base that wo ul d isolate i t fr om seismic movement and exhi bi ted i n a refurbished gallery wi t h the best o f our archaic and fi fth-century material, much o f i t acquired since 1983. The wo r k o f Jerry Podany, our conservator o f antiquities, and his staff was essential to the project. Greek vases were the center o f attenti on most o f the year. We created and put i nt o service a new interactive videodisc to teach visitors about Greek vases. Installed i n t wo booths adjacent to a small gallery wi t h several o f our best vases, the touch-screen moni t ors allow visitors to guide themselves t hr ough as much pr ogr ammed i n - structi on on various aspects o f vases (subject matter, pot t i ng and pai nt i ng, funct i on, etc.) as they wi sh. For specialists, we sponsored an i nternati onal symposi um on vase-painting i n Athens dur i ng the peri od o f the great black-figure pioneer kn o wn as the Amasi s Painter. The occasion was an exhi bi t i on devoted to the artist, o f whi ch we were cosponsors, held at the Los Angeles Count y Museum o f Ar t at the t i me o f the symposi um. FO R MA N US C R I P TS , o f the eight acquisitions i n 198 6 not hi ng surpassed the astonishing Mo del Bo o k o f Cal - l i gr aphy by Geor g Bocskay wi t h i l l umi nat i o ns by Georg Hoefnagel. It was made i n 15611562 i n Prague to demonstrate a variety o f scripts. A generation later, when i t was i n the possession o f Emper or Rudol f I I , i t was taken up by the court painter Hoefnagel and gi ven i l l umi nat i ons o f frui t, flowers, insects, animals, and ci ty viewsa breathtaki ng survey o f the natural wo r l d by this greatest o f scientific illustrators. The manuscript, a celebration o f bot h nature and human artifice, comes at the end o f a l ong t r adi t i on that eventually perished wi t h the rise o f pr i nt i ng. Several other purchases had special i mportance for the Getty collecti on, whose core remains the 144 manu- scripts acquired i n 198 3 fr om Irene and Peter Ludwi g. Because the Ludwi g material, t hough fine and i mpo r - tant, is a l ong way fr om compri si ng a comprehensive collecti on, we want to compensate for its weaknesses as wel l as to bui l d its strengths. French manuscripts were not the Ludwi gs' focus, but i mpor t ant examples are st i l l available, especially fr om the later Mi ddl e Ages; so we have concentrated on t hem. Out st andi ng i n this area is a book o f hours fr om about 14151420 wi t h seven- teen large devoti onal mi ni atures by the Bouci caut Mas- ter and his workshop. It adds a splendid example o f the Parisian I nt er nat i onal Got hi c Style t o the Museum' s collections. A copy o f a Passion narrative i l l umi nat ed i n Lyons by the Master o f Gui llaume Lambert and his wor kshop is not onl y a beautiful devoti onal book, but i t also represents the art o f the i mpor t ant years around 1480 parti cularly wel l . On the other hand, we already have a gr oup o f Fl emi sh manuscri pt s that is unsur- passed i n this country. We added a book o f hours pr ob- ably i l l umi nat ed i n Bruges around 14851495 by the Master o f the Dresden Prayer Book, an anonymous painter who is among the leading figures i n a fertile peri od i n Flanders. The Depart ment o f Manuscri pts enti rely remodeled the gallery i n whi ch we have been showi ng its collec- t i on. Ne w exhi bi ti ons every few months are devoted to themes or periods or centers o f product i on; to house them, handsome new display cases have replaced t em- porary ones, and the r oom has been refurbished. TW EN TY - O N E P A I N TI N G S were added to the collecti on i n 1986. Supply cont i nued to go do wn and prices up, i nevi tably sl owi ng the rate o f acquisition for a museum determi ned to hol d a hi gh standard. Thi s was a year that ended wi t h a series o f startli ng prices pai d at auc- t i on, far hi gher than opt i mi st i c estimates, by relatively new private collectors. The Get t y Museum was never- theless able to add some pai nti ngs that wo ul d be hi gh points o f any year. Acquisitions/1986 155 A n anonymous li t t le Italian di pt ych o f the mi d-four - teenth century, the so-called Ansoui s Di pt ych, is a great rari ty: a beautiful and well-preserved devoti onal object. Uni que i n subject, i t has the sumptuousness and story- t elli ng verve o f Sienese pai nt i ng o f the later Mi ddl e Ages, t hough i t was made far fr om Tuscany, probably i n Avi gnon or Naples. A portrai t by Francesco Salviati adds greatly to a col- lecti on that has so far been weak i n Renaissance por t r ai - ture. Pai nt ed by the i t i ner ant Fl or ent i ne i n Rome around 15501555, its resolute energy is tempered by the complexi ty, resonant color, and polished executi on typi cal o f Italian Manner i sm at its apogee. A wel l - known portrai t by van Dyc k was acquired i n 1986. The sitter is Thomas Howar d, Second Earl o f Ar undel , the greatest Engli sh connoisseur and collector o f his day and a leading statesman under James I and Charles I . He was portrayed around 16201621 by the young Flemi sh painter, who established his reputati on and made his fortune wi t h j ust such commissions i n England. The portrai t shows why: i t is a strong likeness softened by the war m, fluent manner o f the great Vene- tians o f the previous century and deepened by the sug- gestion o f refinement i n the face and hands. Several Dut ch pai nti ngs have j oi ned the collecti on. One, The Horse Stall, may ori gi nally have been the es- tranged compani on o f The Cow Shed by ter Bor ch we acquired a few years ago. The new acquisition repre- sents a stable wi t h t wo figures and a fine dapple-gray r i di ng horse, all painted wi t h ter Borch's breathtaki ng vi rtuosi ty. I n a Mont e Carlo aucti on we were able to buy another genre pai nt i ng, rarer st i l l , the Doctor's Visit o f 1667 by Frans van Mi er i s the Elder, the Leyden pai nter whose wo r k was hi ghl y pr i zed and eagerly collected i n his o wn t i me and wel l i nt o the ni neteenth century. It treats a stock theme, the di agnosi ng o f love- sickness or, more li kely, pregnancy, wi t h a broad hu- mor that is closely related to cont empor ar y theater. It has all o f the refinement and or i gi nali t y o f color that earned van Mi er i s his fame. A pair o f large vi ews o f Venice by the pioneer vedute painter Luca Carlevarijs, o f 1710 and 1711, now hang i n the Museum' s Baroque gallery. Well kno wn and often published, they represent the festivities put on for the vi si t o f Frederick I V o f Denmar k. Carlevarijs portrayed the scenes wi t h an eye for amusi ng anecdote as wel l as for the shi mmer and gli tter o f this ci t y o f spectacle. Step by step, we are bui l di ng a group o f eighteenth- century French pai nti ngs that we hope can one day ri val the Museum' s collections o f French furni ture and deco- rative arts. One step was the purchase last year o f an especially beautiful Char di n st i ll life, a relatively late composi t i on o f a silver goblet, frui t, and nuts. Chardin's artless si mpli ci t y is an i llusi on, for the arrangement is fi nely calibrated, and his translation o f subtle variations o f hue and texture i nt o paint is the product o f a li fet i me o f patient gr owt h. The biggest event o f the year was the reappearance o f a long-lost portrai t o f the daughters o f Joseph Bona- parte by Jacques-Louis Davi d that we were able to ac- quire privately. Painted i n 1821 for the exiled Bonaparte by another exile, the seventy-three year-old Davi d, i t is one o f his most acute portraits. The contrast between the sturdy, nubi le older daughter and her pli ant younger sister is st r i ki ng yet complex; the model i ng is strong and the color ri ch; and the presence o f a letter fr om thei r absent father makes the picture a ki nd o f i con o f fami li al devoti on. As happy as we are to fi nd pai nti ngs by van Dyck, Char di n, and Davi d, o f wh o m we nat urally expect great things, i t can be j ust as satisfying to acquire a masterpiece by an arti st wh o m the publi c may not k n o w at al l for example, the pictures by Leo von Klenze and Franz Xaver Wi nterhalter we bought last year. Winterhalter's subject is a twenty-seven year-old Russian princess, whose sultry beauty he celebrated i n a hi ghl y unconventi onal life-size portrai t; she is recli n- i ng, li ke the Venuses o f the past, i n a splendid gown be- fore a moody Medi t erranean, or perhaps Cr i mean, background. Her cool self-assurance is set o f f by the bol d colors and ri ch textures that the artist painted wi t h such ease. The pai nt i ngs col l ect i on has changed dramat i cally dur i ng the past five years. The acquisition i n that t i me o f more than a hundred wor ks has necessitated t hor - ough rearrangement o f the pictures and gi ven us the chance to refurbish, reli ght, and relabel t hroughout the second-floor pai nti ngs galleries. Unrecogni zed, but es- sential i n all this acti vi ty o f acquisitions and reinstalla- t i on, is the wo r k o f the pai nti ngs conservators under Andrea Rothe. We take thei r j udgment o f the condi t i on o f a picture before i t is bought. An d when i t needs cleaning and restoration, as i t frequently does, we de- pend on t hem to treat i t sensitively, conservatively, and wi t h the greatest respect for the artist's i nt ent i on. Once i n a whi l e this wo r k represents a particular t r i umph, as i t di d wi t h the Dosso Dossi Mythological Scene acquired i n 1983. It was so radically altered by the artist hi msel f that i t posed every ki nd o f di lemma for the restorer. Last year we put i t on exhi bi t i on after three years o f research and successful treatment. FO R D R A W I N G S , 198 6 was the year o f the muc h- publi ci zed Gaines and Spr i ngell sales, at whi c h we made six i mpor t ant acquisitions. There were many 156 Walsh other less conspicuous purchases as wel l . The single greatest addi t i on was the sheet o f draw- ings by Leonardo da Vi nci , whi ch becomes part o f the foundat i on o f our collecti on. On i t he progressively evolved the f or m o f a chi l d wi t h a lamb, a key mo t i f i n several o f his pai nti ngs, fr om a vague explorati on i n chalk to increasingly exact delineations i n pen. He also used the sheet for drawi ngs o f machinery, for the head o f an ol d man, and for notes i n his di sti ncti ve mi r r or wr i t i ng. Thi s small piece o f paper is a compendi um o f Leonardo's techniques and purposes as a draughtsman, whi c h were so i nfluenti al on the hi st ory o f art. I n contrast to the Leonardo, a dr awi ng o f Chri st car- r yi ng the Cross by the German Renaissance master A l - brecht Al t dor fer went unrecogni zed at aucti on and was i denti fi ed, acquired, and later published by the curator, George Goldner, and his assistant curator, Lee Hendr i x. We bought Rembrandt's An Artist in a Studio at the aucti on o f the Spri ngell estate i n London. Thi s is an early pen dr awi ng that shows a young artist l ooki ng i nt ent l y at a pai nt i ng on his easel. The wi r y energy o f li ne invigorates the subject itself, whi ch embodies the amb i t i o n and i nt ellect ual power o f the painter. Our t ent h dr awi ng by the artist, i t strengthens a group o f works by Rembrandt that now surpasses any i n America. The same can be said o f the Getty's drawi ngs by Poussin. To the t wo bought i n previous years, a group o f six were added i n 1986: studies fr om the antique, figure composi ti ons, and, finest o f all, a rare red-chalk dr awi ng o f the Israelites crossing the Red Sea o f about 1634. It reveals an ardent, i mpulsi ve character that Pous- sin wo ul d then di sci pli ne i n executing the pai nt i ng for whi ch the dr awi ng was a study. Havi ng onl y one relatively mi nor dr awi ng by Wat- teau, we wondered i f we wo ul d ever represent the artist at his peak. I n 1986 we got the chance to buy t wo o f the best Watteau drawi ngs i n existence. The Remedy, one o f his few nudes, has the added interest o f bei ng a study for the pai nt i ng i n the No r t o n Si mon Museum; the other, a sheet o f drawi ngs o f three women i n various poses, was used for his most famous picture, the Pil- grimage to Cythera. Bo t h are beautiful examples o f Wat- teau's deli cate sensi bi l i t y and expressi ve t echni que. Somet hi ng o f Watteau's spi ri t can be felt i n the dr awi ng by Gai nsborough we bought at the Spri ngell sale, a wonder ful costume study on blue paper. We were able to acquire a vi ew o f War wi ck Castle by Canaletto, one o f the l umi nous wash drawi ngs made by the Venetian vi ew painter dur i ng his ten-year stay i n England, whi ch began i n 1745. Our first dr awi ng by Canaletto, , i t is f i r m i n constructi on, deli ght ful i n de- t ai l, and lovely i n effects o f l i ght and shade. I mpor t ant drawi ngs by the leading Romanti c painters i n France, Gericault and Delacroi x, j oi ned the collecti on i n 1986. The Giaour, an impeccably preserved water- color o f about 1822 by Gericault, treats a swashbuckli ng subject fr om Byr on; a gouache o f Sailboat on the Sea, acquired fr om the same source, embodies the threaten- i ng power o f the ocean that was a constant Romanti c preoccupation. We were also able to buy The Education of Achilles by Delacroi x, a pastel o f the late 1850s i n vi r t ual l y perfect condi t i on. Exhi bi t i ons fr om the permanent collecti on o f draw- ings, whi ch change five ti mes a year, give us a chance to put new acquisitions on vi ew fai rly pr ompt l y and, as the collecti on gets more diverse, to explore artistic per i - ods, styles o f drawi ng, and even themes. T H E D EC O R A TI VE A R TS C O L L EC TI O N , b ui l t steadi ly over the past fifteen years i n an increasingly compet i t i ve market, has become one o f the half-dozen finest i n the wor l d. Really i mpor t ant acquisitions are therefore not easily found or made. We concentrate on the finest and rarest furni ture and on objects that wi l l not onl y enri ch our installations but wi l l also broaden the picture we give o f the lives and interests o f the ori gi nal patrons. The single most splendid acquisition was surely the very large lit la Turque o f the 1760s attri buted to the menuisier Jean-Baptiste Ti l l i ar d I I . Its graceful for m and splendid carvi ng and gi l di ng i n t wo colors put i t among the best eighteenth-century beds to survive. Since the bedr oom was always a focus o f social life, a place where the mistress o f a great house wo ul d receive guests, the bed has a special i mportance whi ch we can eventually convey i n our o wn i nstallati on. Amo n g the owners o f the furni t ure and decorative arts collected by the Museum were many passionate amateur scholars and scientists. A Rococo gi lt-bronze c o mpo un d mi cr oscope o f about 1751 by the we l l - kno wn maker Alexi s Magny survives wi t h its leather case, extra lenses, i mpl ement s, and prepared slides. It must have provi ded the sort o f edi fyi ng entertai n- ment for the owner and his guests that was a part o f ei ght eent h-cent ur y soci al l i fe. So di d the pai r o f celesti al and t er r est r i al globes o n spl endi d lacquer stands that also j oi ned the collecti on, complete wi t h engraved maps that could be amended by pasting on new sheets when discoveries were made overseas. We succeeded i n buyi ng a pair o f porcelain li dded vases that became our most remarkable Sevres pieces. The model is uni que, the body is decorated i n exquisite bleu Fallot wi t h a constellati on o f gold dots, and the finials are li t t le eggs on gi l t strawthe sort o f dr ol l conceit that deli ghted aristocratic patrons who played at bei ng farmers and shepherdesses. Acquisitions 11986 157 S C UL P TUR E A N D W O R K S O F A R T, a department i n its second ful l year o f existence, made purchases o f funda- mental i mportance. We acquired a bust portrai t o f the young Marcus Aureli us fr om about 1520 by Ant i co, the Mant uan who was famed for emulat i ng Roman sculp- t ure i n smal l bronzes. Tho ug h i t bears a general resemblance to Ant oni ne portraits, i t is alive wi t h a new complexi t y o f expression and is fi nely cast, chased, and patined. Onl y some si xty pieces survive fr om the short-li ved porcelain wor kshop o f the Medi ci dukes at the Palazzo Pi t t i , where, i n 1574, the first successful attempts were made to create the hard whi t e wares that otherwi se had to be i mpor t ed fr om Chi na. The beautiful blue-and- whi t e pi l gr i m flask acquired last year is a great rari ty and a fi t t i ng addi t i on to a gr owi ng collecti on o f later European porcelain. The finest late Renaissance bronze to be sold i n many years is the statuette o f a reari ng horse si gned by Adri aen de Vries, a Dut ch sculptor taught by Gi am- bol ogna, who became cour t art i st t o Rud o l f I I i n Prague (like the painter Hoefnagel, who i l l umi nat ed the Mo del Bo o k o f Calli graphy already menti oned) . Spi r i t ed horses were a pr eoccupat i on o f Renaissance sculptors, not j ust for equestrian monument s but as independent subjects. Few bronzes so successfully com- bi ne convi nci ng anat omy and mo t i o n wi t h vi r t uoso casting and fi ni shi ng. Amo n g a number o f ei ght eent h-cent ur y Fr ench sculptures acqui red recently, an allegori cal gr oup o f Hope Nourishing Love o f 1769 by J.-J. Caffi eri stands out. The figures act out the saying literally, br i ngi ng the abstractions to life and gi vi ng t hem a half-serious er ot i - cism. The composi t i on rewards many different vantage poi nts and is carved wi t h great vi rtuosi ty. The new Get t y Museum sculptures make thei r way steadily i nt o the galleries, bot h as part o f the revamped pai nti ngs installations and on thei r own. A large up- stairs vestibule is now devoted to larger Renaissance sculptures, most ly i n bronze. T H E D EP A R TMEN T O F P H O TO G R A P H S today holds up- war d o f si xty thousand pictures, and, despite havi ng been formed onl y three years ago, i t may already be the best all-around collecti on anywhere. It is by no means complete, however. It has not been especially strong i n the leading masters o f t went i et h-cent ury photography, t hough some, such as Sander, Man Ray, Evans, and Mo ho l y- Nagy, are represented better here t han any- where. So we have t ri ed to f i l l the holes and had special success i n 1986, when we were able to acquire groups o f phot ographs by three o f the greatest o f all, Strand, Weston, and Kertesz. Paul Strand's cont r i but i on was to put a new hard- edged vi si on, much i nspi red by moderni st pai nti ng, i n place o f the pi ctori al stylizations wi t h whi ch he had gr own up. The group o f 117 photographs we bought fr om his heirs not onl y shows this i nfluenti al phase o f his wo r k around Wor l d War I but covers more than forty years o f his producti ve career. Edwar d Weston's wo r k evolved parallel to Strand's, t hr ough pi ctori ali sm to a conversion i n the 1920s to near-abstract images o f figures, machines, and buildings. We bought fi ft y-ni ne separate Weston photographs and 762 photographs i n albums fr om his son Cole, o f whi ch the strength is early wo r k done i n Los Angeles. Andr e Kertesz moved to Paris i n 1925, a moment o f particular brilliance, and became one o f the pr i me i nno- vators o f European photography. Hi s vi si on has a sur- realist element, usually the result o f seeming accident and studied choices o f vi ewpoi nt and croppi ng. Our new group o f forty-one pictures has many o f the most i mpor t ant images i n Kertesz's first or onl y prints. Beyond these major addi t i ons o f 1986 there were some fi fty-one other acquisitions o f the wo r k o f 101 photographers, most ly o f groups o f photographs, usu- ally by purchase but a few by gift. Amo n g other artists represented were Roger Fent on, Gustave Le Gray, Wi l l i am Henr y Fox Talbot, Thomas Eakins, Edwar d Steichen, Al fr ed Stieglitz, and Man Ray. These broad- ened and deepened a collecti on that now ranges fr om photographi c incunabula o f the late 1830s t hr ough wo r k by the major figures o f our century. The department's study r oom at 401 Wi lshi r e Boul e- vard i n Santa Moni ca has become a busy place. Since spri ng 1985 more than eight hundred visitors have used the collect i oncurat ors, scholars, dealers, phot ogr a- phers, collectors, studentswhose wo r k the depart- ment tries to further. The year marked a debut for the department, the first exhi bi ti ons to be held at the Get t y Museum. The i nau- gural show was devoted to the wo r k o f Julia Margaret Cameron, the Vi ct or i an photographer who brought a new seriousness and poetic i nvent i on to portraits and genrelike religious subjects. It was held i n a newly ren- ovated space next to the pai nti ngs galleries. A second exhi bi t i on was devoted to Edwar d Weston, the most i mpor t ant artist ever to mature i n Los Angeles. There wi l l be four or five such shows o f photographs each year. Already we can see the Museum' s audience chang- i ng as a result o f these exhi bi ti ons, becomi ng younger and more diverse, a happy sign for the future. John Walsh Di rect or Notes to the Reader Al t hough variations occur reflecting bot h curatorial preference and the nature o f the works o f art described, the followi ng i nformat i on has been provided for each listed i t em where appropriate or available: name and dates o f arti st, t i t l e or name o f wo r k and date o f execut i on, medi um, dimensions wi t h centimeters preceding inches, i nscri pt i ons, Museum accession number , comment ary, provenance, and bibliography. Whe n possible i n gi vi ng dimensions, the formula height precedes wi d t h precedes depth has been observed. I n cases where this was not appropriate to the wor k o f art i n ques- t i on, the followi ng abbreviations have been consistently employed: H: Hei ght W: Wi d t h D: Dept h Di am: Diameter L: Lengt h I n the provenance sections brackets are used to indicate dealers. ANTI QUI TI ES S T O N E S C U L P T U R E 1. THREE FRAGMENTS OF A FUNERARY MO N U ME N T Greek, circa 5 25 - 5 00 B . C . Mar bl e, 1) 51 x 21 x 12.2 c m (20" x 8 7 / x 4 3 / / ) ; 2) 7 x 3 x 3 c m (2 3 A " x 1 W x 1 W) ; 3) 7 x 5 x 3 c m ( 2 3 / / x 2" x 1 W) 86.AA.545.1-.3 ( j o i ni ng 85.AA.419) The monument depicts a fi gure r ecl i n- i ng on a kli ne. Two o f the fragments are f r om the fi gure i t sel f The t hi r d may be part o f a cushi on. Red pol ychr omy is preserved on t wo o f the fragments. P R O VEN A N C E: European art market. 2. TOMB ALTAR WI TH MAL E PORTRAI T Roman, circa 150 A . D . Mar bl e, H: 64 c m ( 25 3 / i 6 ") ; W: 49 c m ( 19V/ ) ; D: 27 c m ( 10W) 86. AA. 572, presented by A. Rosen, Ne w Yor k The back o f the altar has been cut d o wn i n moder n times. Wi t h i n its rectangular fi eld, the niche contains i n r el i ef the por t r ai t o f an un k n o wn bearded male. Hi s head and gaze are di rected sli ght ly t o the r i ght . The bust is undraped and truncated somewhat bel ow the shoul - ders by the frame. B IB L IO G R A P H Y : G. Koch, Roman Funerary Sculpture (Malibu, 1987), no. 28. 3. FRONT PANEL OF A SAR- COPHAGUS OF T AELI US EVANGELUS Roman, circa 180 A . D . Mar bl e, H: 46.4 c m (18 5 / i6 "); L: 173 c m (68V8 ") Inscri bed: FVERIT POST ME ET POST GAVDENI A NI CENE VETO AL I VM QVI SQVI S HVNC TI TVL VM LEGERI T/ MI ET I LLEI FECI/ T AELI O EVANGELO/ HOMI NI PATI ENTI / MERVM PROFVNDAT 86. AA.701 ( for mer ly 82. AA.148) The panel represents the deceased, a wool -maker named Ti t us Evangelus, re- cl i ni ng o n a kl i ne as his wi fe offers h i m a wi ne cup. I n the fi eld ar ound t hem are scenes depi ct i ng aspects o f t hei r dai ly lives. At the far left, t wo goats froli c; a seated man cards wo o l . The figures ar ound the i mage o f a horse i n the up- per r i ght corner may be parti ci pants i n the rites o f the cult o f Cybele and At t i s. At the far r i ght , a seated man rolls wo o l i nt o a ball. P R O VEN A N C E: L O S Angeles art market. B IB L IO G R A P H Y : The Summa Galleries, Inc., auc- tion cat. (Beverly Hills, September 18, 1981), lot 75; G. Koch, Roman Funerary Sculpture (Malibu, 1987), no. 9. B R O N Z E S C U L P T U R E 4 4. STATUETTE OF A FALLEN OR DYI NG YOUTH Greek, circa 480465 B . C . Br onze wi t h copper inlay, L: 13.5 c m ( 5 5 / i 6") ; W: 7.3 c m (2 7 /s") 86.AB.530 The fi nely modeled body o f the nude yout h arches backward i n an atti tude o f sleep or death. Hi s legs are bent at the knee* and his upper torso falls back as i f he were l yi ng on a rock or bei ng car- ri ed. Hi s r i ght ar m falls backward above his head, and the closed fingers o f his r i ght hand t ouch the curls o f hai r over his forehead; the straightened left ar m falls away f r om his side. Bo t h loosely closed fists are empt y but once held ob- jects, and a hole i n the r i ght shoulder blade indicates a previ ous poi nt o f at- tachment t o some other object. The statuette was soli d cast, and copper was used for separate locks o f hair and the nipples. The surface is sli ght ly pi t t ed ar ound the chest and stomach and there are several small repair patches, applied after casting. P R O VEN A N C E: New York art market. T E R R A C O T T A 5 5. THYMI ATERI ON Sout h Itali an, circa 5 00- 48 0 B . C . Terracotta, H: 44.6 c m (17 9 / i6"); Di a m (incense cup) : 6.9 c m (2 3 A ") 86.AD.681 The caryati d fi gure that supports an i n - cense burner on her head is Ni ke, the wi nged goddess o f vi ct ory. She holds her r i ght hand for war d i n a gesture o f salutati on; wi t h her left hand she li fts 2 160 Acquisitions/1986 the folds of her himation to the side. Perched on the knob of the openwork li d is a dove wi t h its wings raised. The piece has been restored from a number of fragments, wi t h only the thumb of the Nike's right hand, the fi n- gers of her left hand, and the left wi ng of the dove on the l i d missing. Beneath the surface encrustation there are abun- dant remains of the original poly- chromy, especially on the headdress (blue and purple), the wings (red) and Nike's garments (the chiton is blue, the himation red). P R O VEN A N C E: European art market. 6. PAIR OF ALTARS South Italian (Tarentum?), circa 400-3 75 B . C . Terracotta, 1) H: 41.8 cm (16 7 / i 6 "); W (of base): 34.2 cm (13V 2 "); W (of top): 31.6 cm (127i6"); D (of top): 27 cm ( lOW) ; 2) H: 41.8 cm (16 7 / i 6 "); W (of base): 33.2 cm (137i6"); W (of top): 31.5 cm (12 3 /s"); D (of top): 27.8 cm (10 15 /l6") 86.AD.598 The altars have been broken and as- sembled from fragments, wi t h some areas missing. Traces of the original polychromy remain. The fronts of both altars are decorated wi t h low-relief fi g- ures. On altar 1, three women move rapidly to the right, looking toward the figures on the other altar. Two carry musical instruments, a xylophone and a tympanum. On altar 2, an effeminate young god sits facing left on an irregu- lar rocky surface. He has his arm around the shoulders of a female seated beside hi m on his right, and he holds one hand up to the fillet around his head. Two other women are i n attendance, and both appear i n poses that suggest grief: one holds her left hand to her forehead; the other sits wi t h her head downcast and her hands clasped about her right knee. The subject may be identified as the death of Adonis, the youthful god of vegetation and regeneration. The stylis- tic features and a tentative identification of the clay as Tarentine suggest that the altars were made i n the area of Tarentum. P R O VEN A N C E: European art market. 7 (86.AE.159) 7 (86.AE.60) 7 (86.AE.279) V A S E S 7. COLLECTI ON OF 428 GREEK, S OUTH I TALI AN, A N D R OMAN VASES A N D VASE FRAGMENTS Including Mycenaean, East Greek, Etruscan, Attic, Corinthian, Euboean, Chalcidian, Laconian, Daunian, Apulian, Campanian, Sicilian, Lucanian, and Arretine fabrics, circa 130050 B . C . Artists represented include the Boread Painter, the Hunt Painter, the 7 (86.AE.70) 6 Antiquities 161 8. 810 FRAGMENTS OF GREEK A N D S OUTH I TALI AN VASES East Greek, Attic, and Gnathian fab- rics, circa 550-300 B . C . Artists represented include the potter Euphronios, the Wraith Painter, the Kyllenios Painter, Epiktetos, Ones- imos, the Kleophrades Painter, the Brygos Painter, the Foundry Painter, the Berlin Painter, the Eucharides Painter, and the Penthesilea Painter. Terracotta, various dimensions 86.AE.482-487; 86.AE.546-570; 86.AE.575-587 and 86.AE.707-709, presented by Dietrich von Both- mer; 86.AE.698 (formerly 82.AE.146); 86.AE.735-737 Many of these pieces belong to, and i n some cases actually j oi n, fragmentary vases presently i n the Museum's collection. P R O VEN A N C E: European and Los Angeles art markets. Painter of Vatican 73, the Phineus Painter, the Heidelberg Painter, the B MN Painter, the Swing Painter, the Rycroft Painter, the Affecter, mem- bers of the Leagros Group, Oltos, Psiax, Douris, the Briseis Painter, the Foundry Painter, the Brygos Painter, the Eucharides Painter, the Aegisthus Painter, the Black Fury Painter, the Darius Painter, the Lycurgus Painter, the Dolon Painter, the Hoppin Painter, and the Konnakis Painter. Terracotta, various dimensions 86.AE.34-462 P R O VEN A N C E: Walter and Mol l y Bareiss, Greenwich, Connecticut. B IB L IO G R A P H Y : One hundred of the vases ap- peared i n the Metropolitan Museum of Art , Greek Vases and Modern Drawings from the Col- lection of Mr. and Mrs. Walter Bareiss, ex. checklist (New York, 1969); nine of the vases are discussed i n Yale University Ar t Gallery, Greek Vases at Yale, ex. cat. (New Haven, 1975); two hundred fifty-seven of the vases are included i n the J. Paul Getty Museum, Greek Vases: Molly and Walter Bareiss Collec- tion (Malibu, 1983). Individual vases from the collection have appeared i n numerous pub- lications, including D. von Bothmer, "Walter Bareiss as Collector," Metropolitan Museum of Art Bulletin 28, no. 4 (Dec. 1969), pp. 1-4, ABV, ARV 2 , and Paralipomena. A complete catalogue of the collection is currently i n preparation. V A S E S : E A S T G R E E K 9. ARYBALLOS Circa 640-625 B . C . Terracotta, H: 9.1 cm ( 3W) ; L: 14 cm (5V 2 "); Di am (spout): 2 cm ( W) 86.AE.696 This Proto-Corinthian aryballos is a combination wheel-thrown and mold- made vessel fashioned i n the shape of a mature ram resting on legs tucked up under his body. Large horns curl behind his ears and frame a carefully detailed face, wi t h stylized locks of fur falling between his eyes and curling around both corners of his mouth. Once 7 (86.AE.286) 7(86.AE.280) 7 (86.AE.290) 9 162 Acquisitions/1986 broken, the aryballos has been reconstructed from fragments, wi t h areas of the body restored. P R O VEN A N C E: New York art market. V A S E S : C O R I N T H I A N 10. ARYBALLOS Early sixth century B . C . Terracotta, H: 6.1 cm ( 2W) ; L: 10.1 cm (4"); W: 3.6 cm (lVw") 86.AE.697 Buff-colored clay was pressed into a two-part mold to create this small aryballos i n the shape of a recumbent lion. The animal's mane is swept back, and his head is turned slightly to the right. On top of the head is a simple hole from which the contents of the vessel were poured. On either side of the face the lion's ruff is pierced by holes for suspension cords. The aryballos has never been broken. P R O VEN A N C E: New York art market. V A S E S : A T T I C R E D - F I G U R E 11. KYL I X TYPE B Circa 500-490 B . C . Attributed to Onesimos Terracotta, H (restored): 8.3 cm ( 3 1 / / ) ; Diam: 23.5 cm (9V 4 "); W ( wi th handles, one restored): 30.5 cm (12") 86.AE.607 The kyli x has been restored from frag- ments; the foot and one handle are missing. Wi t hi n the tondo, a satyr crawls on a large rocky outcropping to- ward the figure of a sleeping maenad whom he is about to kiss. The maenad reclines to the left on a large striped cushion; a wineskin hangs i n the back- ground above her head. On each side of the exterior, a satyr dances on a short groundline. The better preserved of the two satyrs is seen from the back. The head and shoulders of the other, who is drawn i n profile to the left, are missing, and a giant keras (drinking horn) is at his feet. P R O VEN A N C E: European art market. 12. KYL I X TYPE C Circa 450-440 B . C . Attributed to the Euaion Painter Terracotta, H: 13.2 cm (5 3 / i 6 "); Di am: 32.1 cm (12 5 /s"); W ( wi th handles): 39.5 cm (15 9 /i 6 ") 86.AE.682 10 n 12 Antiquities 163 The cup has been restored f r o m a n um- ber o f fragments. There is an ancient bronze repair wi t h i n the stem o f the foot. O n the i nt eri or, a yout h holds out his k yl i x t o be fi l l ed by the bearded man who stands before h i m hol di ng an oi nochoe. Behi nd h i m is the large v o l - ute-krater that wo ul d have hel d the mi xt ur e o f wi ne and water. The fr ont legs o f a kli smos (chair) are vi si ble be- hi nd the bearded man. O n bot h sides o f the exterior, yout hs and men parti ci pate i n the revelry, conversing, pl ayi ng i n - struments, dr i nki ng, and danci ng. The l i p o f the k yl i x is offset on the i nt er i or o f the b o wl . The pr ofi le o f the foot is characteristic o f H. Bloesch's so-called Euai on foot. P R O VEN A N C E: European art market. 13 13. RED-FIGURE STEMLESS CUP Ci rca 450-425 B . C . At t r i but ed t o the Mar l ay Painter Terracotta, H: 6.4 c m (2V2"); Di am: 22.3 c m ( 8 1 3 A 6 ") ; W ( wi t h handles): 29.5 c m (HVs") 86.AE.479 Reconstructed f r o m fragments, the cup has an ancient repair i n the foot. Inside, on the left, a male hol di ng a spear stands faci ng a female. The exteri or is covered wi t h a lozenge pattern. Pal- mettes i n si lhouette f i l l the areas under the handles. P R O VEN A N C E: New York art market. 14. FI SHPLATE Ci rca 400- 3 5 0 B . C . Terracotta, H: 3.7 c m ( l 7 / i 6 " ) ; Di am: 22.5 c m (8 7 /s") 86.AE.700 ( for mer l y 82.AE.147) Di sposed ar ound the central cavi ty are three fi sh, a scorpi on fi sh and a sargus ori ent ed i n the same di r ect i on, and a mul l et faci ng the opposi te way. I n the interstices are three small creatures perhaps nemat odeswi t h undul at i ng bodies. Kymat i a sur r ound the outer edge o f the plate and encircle the central depression. The vase is intact. P R O VEN A N C E: L O S Angeles art market. 15. RATTLI NG BLACK KANTHAROS Four t h cent ury B . C . Terracotta, H (to r i m) : 20.4 c m (8V16"); Di am ( mout h) : 17.5 c m (6 7 /s"); Di a m ( foot ) : 9.6 c m ( 3 W) 86.AE.702 ( for mer l y 82.AE.152) The kantharos has been restored f r o m fragments. A n i nscr i pt i on i n gi l t letter- i ng dedicates the cup t o Kast or and Polydeukes: K A ITQ P P O A Y A EY IK H I. O n bot h sides o f the b o wl , gi l t garlands are suspended f r o m bucrania; stars f i l l the spaces above the garlands, and a r un - ni ng-wave pat t ern marks the offset bet ween b o wl and calyx. Wi t h i n the ho l l o w l i p are pellets that rattle when- ever the cup is t i l t ed. P R O VEN A N C E: L O S Angeles art market. B IB L IO G R A P H Y : The Summa Galleries, Inc., auc- ti on cat. (Beverly Hills, September 18, 1981), lot 16. V A S E S : A P U L I A N 16 16. PELIKE End o f the fi ft h cent ury B . C . Close t o the Gravi na Painter Terracotta, H: 50.9 c m (20"); Di a m ( mout h) : 28 c m (11"); Di a m ( foot) : 23.2 c m (9V 8 ") 86.AE.611 The vase has been reconstructed f r o m fragments. The enti re body o f the vessel is taken up by scenes o f Nerei ds b r i ng- i ng arms t o Achi lles. At the t op left o f the obverse, Achi lles sits at the mo ut h o f a gr ot t o framed by waves. Five Nerei ds r i di ng sea creatures (three dolphi ns, a hi ppocamp, and a fish) approach beari ng pieces o f armor. O n the reverse, four Nerei ds car r yi ng ar mor ri de three dolphi ns and a hi ppo- camp, respectively. P R O VEN A N C E: European art market. B IB L IO G R A P H Y : B. Westcoat, ed., Poets and Heroes: Scenes from the Trojan War, ex. cat. (Emory University Museum, Atlanta, 1986), pp. 38-43, no. 9, i l l . 17 17. LOUTROPHOROS Late four t h cent ury B . C . At t r i but ed t o the Painter o f Louvr e MN B 1148 Terracotta, H: 90.1 c m (35V2"); Di a m ( body) : 35.2 c m (13 7 / 8 "); Di a m ( foot ) : 18.7 c m ( 7 W) ; Di a m ( mout h) : 26 c m (IOV2") 86.AE.680 The upper register o f the obverse por - trays Astrape hol di ng torches, Zeus and Aphr odi t e wi t h Eros wi t hi n a palace, Eni autos, and Eleusis. Thei r names are i nscri bed: , , , , . At the center o f the lower register Leda, i dent i fi ed by the 164 Acquisitions/1986 i nscr i pt i on , and the swan embrace whi l e, t o the r i ght , Hypnos, i nscri bed , holds his wand over the couple, casting a sweet drowsiness on the scene. O n either side are female compani ons. At the center o f the reverse the statue o f a wo man stands wi t h i n a funerary mo nument sur r ounded by female attendants. P R OVEN A N CE: European art market. GL A S S 18. FOUR ROD FRAGMENTS Elamite (Persian), circa 1250 1200 B . C . Glass, 1) L: 3.3 cm (17i 6 "); Di am: 1.6 cm ( 7 / 8 ") ; 2) L: 4.9 cm ( l 1 5 / i 6 ") ; Di am: 1.6 cm (7s"); 3) L: 7.2 cm ( 2 1 3 / i 6 ") ; Di am: 1.6 cm ( 7 / 8 ">; 4) L: 8.3 cm ( 3 1 / / ) ; Di am: 1.5 cm (Vie") 86.AF.522.1-.4, presented by N. Boas The fragments are composed of alter- nating spirals of blue-and-white glass canes, twisted to form a thick rod wi t h a hollow central core. They were used as decorative architectural molding around doors. Al l are broken at either end, and none joins. Their surfaces are slightly iridescent and pitted. century B . C . Gilt silver, H: 27 cm ( 10W) 86.AM.751 The amphora is constructed wi t h a spout at the base and thus also func- tioned as a rhyton. The body of the vessel is decorated wi t h a calyx of wa- ter li ly leaves i n relief, and the bottom terminates i n a rosette. The handles are rampant li on griffins, and the mouth and neck are articulated wi t h kymatia. The body has been damaged wi t h some small losses, which are now filled, and a horn is missing from one of the li on griffin handles. P R OVEN A N CE: Private collection, New York. 20. GROUP OF FIVE VESSELS Greek, secondfirst century B . C . Gilt silver wi t h inlaid garnets and glass, 1) H: 35.5 cm (13 3 A"); 2) Di am: 10.2 cm (4"); 3) Di am: 10.2 cm ( 4") ; 4) Di am: 14 cm ( 5 1 / / ) ; 5) L: 21 cm (8V 4 ") 86.AM.754.1-.5 The group is composed of a rhyton, a cup, and three bowls. The rhyton (86.AM.754.1) terminates i n a li on pro- tome wi t h inlaid garnet eyes. The horn is decorated at the base wi t h a calyx of acanthus leaves and attached blossoms and wi t h a relief garland of i vy leaves around its upper part. The gilding is well preserved on the mane and floral decoration. Garnets are also inlaid i n the centers of the blossoms among the acanthus fronds and i n the clasps of the relief garland on the upper part of the horn. Two silver hemispherical bowls ( 86.AM.754.2-.3) belong together wi t h the rhyton. Their exterior rims are dec- orated wi t h gilded olive wreaths wi t h inlaid garnet clasps, and five-petal relief gilded rosettes wi t h garnet centers are found on the bottoms of the exteriors. Their interiors are undecorated. The fourth piece i n the group is a gilt-silver drinking cup (86.AM.754.4), decorated on the exterior wi t h acanthus patterns i n high relief and inlays of glass and stone. This bowl was repaired i n antiq- uity. The last vessel is a shallow bowl (86. AM.754.5), decorated on the inside wi t h concentric bands of gilded incised floral patterns and a central inset garnet. Its original circular shape is now dis- torted, and the bowl is cracked. P R OVEN A N CE: European art market. 21. GROUP OF THREE VESSELS Greek, first century B . C . Gilt silver wi t h inlaid garnet, G O L D A N D S I L V E R 19. AMPHORA- RHYTON Achaemenid (Persian), fifth 21 Antiquities 165 21 1) H: 41.9 c m ( 16 1 / / ) ; 2) H: 41.9 c m (I6V2"); 3) Di am: 20 c m (7 7 /s") 86. AM. 752. 1-. 3 Thi s gr oup is composed o f t wo rhyt a and a b o wl . Bo t h r hyt a ( 86. AM. 752. 1-. 2) , whi c h t ermi nat e i n prot omes o f snarli ng lynxes, have Ar amai c i nscri pt i ons i nci sed o n t hei r ri ms; these i denti fy the artist responsible for t hei r manufacture and state t hei r met al wei ghts. The shallow b o wl (86. AM.752.3) is decorated on the i nt er i or wi t h an elaborate pentagonal- leaf pattern overset wi t h smaller r el i ef flowers i nlai d wi t h garnets. The exterior is undecorated. The b o wl has a few small areas o f copper corrosi on and pi t t i ng, but i t is ot herwi se i n excellent condi t i on. P R O VEN A N C E: Private collection, New York. 22 22. RHYTON Greek, fi rst cent ur y A . D . Gi l t silver wi t h glass inlays, H: 46 c m (18V 8 ") 8 6. AM7 5 3 The r hyt o n termi nates i n the pr ot ome o f an an ti ered stag wi t h i nl ai d glass eyes. Uni que among all preserved rhyt a, the ho r n is complet ely covered wi t h elaborate floral ornaments i n l o w relief. A n Ar amai c i nscr i pt i on o n the bel l y o f the stag dedicates the r hyt o n t o a sanc- tuary. I n spite o f one small crack above the r i ght leg o f the stag and a few mi no r losses o f gi l di ng, the r hyt o n is i n excel- lent condi t i on. P R O VEN A N C E: Private collection, New York. 23. FRAGMENT OF A LATE ANTI QUE BELT Roman, fi ft h cent ury A . D . Go l d wi t h glass inlay, 2.5 x 2.5 c m ( l " x l " ) 86. AM. 531 ( j o i ni ng 83.AM.224) The obverse o f the gol d solidus, mount ed i n a hi nged square o f gol d and i nl ai d glass, bears a por t r ai t o f the em- peror Valent i ni an I (r. 364375 A . D . ) and the legend D N VALENTI NI ANUS PF AVG. Its reverse shows a standi ng fi gure o f the emperor i n mi l i t ar y dress and the legend RESTI TVTOR REI PVBLI CAE. The segment is part o f a belt presently i n the Museum' s collect i on. P R O VEN A N C E: New York art market. 166 Acquisitions 11986 G E MS 24 24. CAMEO Roman, fi r st t hi r d cent ur y A . D . Sardonyx, H: 1.4 c m ( 7i 6 ") ; W: 2.3 c m ( 7 /s") 86.AN.739 A l i o n reclines t o the r i ght , its head rest i ng o n its forelegs. The tassel o f the t ai l, curled under the body, shows beside the vi si ble hi n d leg. A mane o f t hi ck, shaggy locks di sti ngui shes the carefully detai led face f r o m the t aut ly muscled body. The cameo was carved for i nser t i on i nt o a separate setti ng, pr obably a fi nger r i ng. P R O VEN A N C E: New York art market. V A R I A 25. DI MI DI ATED RHYTON Mo d e r n i mi t at i o n o f a later f i f t h- cent ur y-B .c. At t i c or i gi nal Terracotta, L: 18.4 c m ( W ) ; W: 8.7 c m ( 37i 6 ") ; Di am: 7.5 c m ( 2 1 5 / i 6 ") 86. AK. 699 ( for mer l y 82. AE.146) Ha l f o f thi s di mi di at ed r hyt o n is mol ded i n the shape o f a ram's head; the other side is that o f a donkey. O n the br oken r i m a maenad runs t o the left, pursued by a satyr, o f wh o m onl y one leg and the t ai l remai n. P R O VEN A N C E: L O S Angeles art market. MANUSCRIPTS 26. MISSAL 26 (fol. 157v) Use o f Mai nz Ger many ( Mai nz?) , early si xteenth cent ury Vel l um, 250 leaves. Col l at i on: l 6 ( -5, before fol . 5), 2 8 - 1 5 8 , 16 1 0 (+11, fol. 128), 17 8 -18 8 , 19 6 ( +3, fol. 147), 20 2 ( +3, +4, +5 , +6, fols. 154-157) , 21 1 0 , 22 8 , 23 8 , 24 8 ( +1 , fol . 184; +10, fol . 193; +11, fol . 194), 25 1 0 ( +1, fol . 198; +12, fol . 206; +13, fol. 207; leaves 1-3, 911 appear t o be reattached si n- gles), 26 8 ( +7, fol . 214), 27 4 ( +2, fol . 218; +6, fol . 222), 28 8 - 29 8 , 30 1 2 ; 39.1 x 28 c m (15V8 " x 11"). Text area 28.4 x 17.9 c m (llVs" x W ) , t wo columns, t went y-seven lines (nineteen i n canon, t hi r t y- t wo i n calendar). Lat i n text i n Got hi c script. One full-page mi ni at ur e, n u- merous decorated borders, numer - ous decorated i ni ti als. Or i gi nal pi gski n bi ndi ng bl i nd-t ool ed and stamped wi t h foliate pat t ern over wooden boards, knot t ed leather fore-edge markers, t wo brass clasps; Germany, early si xteenth century. Ms . 18; 86.MG.480 C O N TEN TS : Calendar wi t h numer ous Rheni sh saints, i ncl udi ng Gemi ni anus, Arbogast, Lubent i us, Theonestus, and Severinus (fols. 13v, fols. 45v blank) ; Proper o f Ti me t hr ough the v i g i l o f Easter (fols. 6127, fols. 127v1281 blank ruled); Or di nar y (noted) and Canon o f the Mass (fols. 129166v, fols. 157 and 167 blank) : Crucifixion (fol. 157v); Mass f r om the feast o f Saint Bi l hi l di s (fol. 167v); Proper o f Saints fr om the feast o f Saint Andr ew ( November 30) t hr ough the feast o f Mar y o f Egypt ( Apr i l 9) (fols. 168196v); Co mmo n o f Saints (fols. 197-242v, fols. 243-250v blank ruled). Ms. 18 is the fi rst ( summer) part o f a t wo-vol ume missal. The other v o l - ume ( Mnst er , Bi sch fl i ches Priester- seminar, K1 16) also includes a calendar, the Or di nar y, the Canon o f the Mass, and the Co mmo n o f Saints, but i t has i n the Proper o f Ti me and the Proper o f Saints onl y those feasts fal l i ng bet ween Easter and Advent . The missal is for the l i t ur gi cal use o f the arch- bi shopri c o f Mai nz, as expl i ci t l y not ed i n a r ubr i c i n the M n s t e r volume. The calendar contains many peculi arly Mi ddl e Rheni sh saints (see Contents) as wel l as Bi l hi l di s ( November 27), whose cult was exclusive t o Mai nz. Bi l hi l di s is further emphasized i n Ms. 18 by the i nclusi on o f a mass for her feast day ( fol. 167v). Al t ho ugh the style and i conogra phy o f the Cr uci fi xi on mi ni at ur e are st rongly remi ni scent o f the wo r k o f Al br echt D r e r and his wor kshop, active i n Nur ember g, the locat i on o f executi on o f the missal is unkno wn. P R O VEN A N C E: Count Galen, Mnster, nine- teenth century; sale, Christie's, Amsterdam, May 8, 1985, lot 403; [Bernard Breslauer, New York] , 168 Acquisitions/1986 27 (fol. 38v) 27. BOOK OF HOURS Use o f Paris I l l umi nat ed by the Mast er o f the Har var d Hanni bal and Wor kshop Paris, circa 1420-1430 Vel l um, 176 leaves. Col l at i on: l 2 , 2 8 - 9 8 , 10 6 , l l 8 - 2 4 8 , 25 8 ( - 8 , after fol. 191); catchwords at ends o f most quires; quires 24 and 25 are si x- t eent h-cent ury addi ti ons; 17.9 x 13 c m ( 7Vi 6 " x 5V8 ") . Text area 9.6 x 6.2 c m ( 3 3 A" x 2 7 /\6 ,r ), one col umn, fourt een lines. Lat i n and French text i n Got hi c script. Fourteen three- quarter-page mi ni at ures, numerous decorated borders, numer ous decorated i ni ti als. Bl i nd-st amped b r o wn leather b i ndi ng over wooden boards, t wo clasps and catches lacki ng, gi l t edges; French, fi fteenth century. Ms. 19; 86.ML.481 C O N TEN TS : Calendar, and possi bly Gos- pel Sequences, Obsecro te and O intem- erata lacki ng. Hour s o f the Vi r g i n , use o f Paris (fols. 172v): Annunciation ( fol. 1), Visitation ( fol. 26), Nativity ( fol. 38v) , Annunciation to the Shepherds ( fol. 45), Adoration of the Magi ( fol. 50), Presenta- tion ( fol. 54v) , Flight into Egypt ( fol. 59), Coronation of the Virgin ( fol. 67); Seven Peni tenti al Psalms (fols. 7 3 - 8 4) : King David in Prayer ( fol. 73); li t any i ncl udi ng saints Audoenus, Lubi n, Tugdual, Cor en- tine, Ivo o f Bri ttany, and Genevieve (fols. 8793); Short Hour s o f the Cross (fols. 93v-103v) : Crucifixion (fol. 93v); Short Hour s o f the Ho l y Spi ri t (fols. 104-U2v) : 27 (fol. 45:) Pentecost (fol. 104); Offi ce o f the Dead, use o f Paris (fols. 113162v): Funeral Mass ( fol. 113); Fifteen Joys o f Ma r y (fols. 163-168v) : Virgin and Child En- throned with Angels ( fol. 163); Seven Re- quests o f Our Lo r d (fols. 169-173v) : Last Judgment ( fol. 169); added prayers i n French and Lat i n ( fi fteenth-si xteenth cent ury) ; si xt eent h-cent ury notes con- cerni ng bi rt hs and deaths o f members o f the Passin and Ducr ocq fami li es (fols. 173v-187, fols. 187v-191v blank) . The Mast er o f the Har var d Hanni bal was one o f the leadi ng followers o f the Bouci caut Mast er (active circa 1405-1420) , the pr emi er artist o f the fi rst quarter o f the fi fteenth cent ury i n Paris. Named for a mi ni at ur e o f the Cor onat i on o f Hanni bal prefaci ng a manuscri pt o f Li vy' s Decades ( Cambri dge, Mass., Har var d College Li brary, Ms. Ri chardson 32), this artist adopted some o f the most di st i nct i ve features o f the Bouci caut Master's wo r k: sophisticated i nt er i or architecture, si n- uous drapery contours, cour t l y fi gure types, and such details as wat t l ed fences and trees wi t h poi nt ed boughs. These qualities are ampl y represented i n the Museum' s unpubli shed book o f hours. P R O VEN A N C E: Ducrocq, sixteenth century; Thomas Libby (?); private collection, Cambridge, Massachusetts (sale, Oinonen Gallery, Northampton, Massachusetts, January 28, 1986, lot 89); [Heritage Book Shop, Los Angeles, and Laurence Witten Rare Books, Southport, Connecticut] . Manuscripts 169 28 (fol. 37) 28 (fol. 74) 28 (fol. 106) 28 (fol. 132) 170 Acquisitions/1986 28. MODEL BOOK OF CALLI GRAPHY and GUI DE TO THE CONS TRUCTI ON OF LETTERS Wr i t t en by Geor g Bocskay ( Hun - garian, d. 1575) and i l l umi nat ed by Geor g (Joris) Hoefnagel ( Flemi sh, 1542-1600) . Fols. 1-129 wr i t t en i n 15611562, i l l umi nat i ons on these folia added after 1590/91; fols. 130-151 complet ed i n 1596. Vel l um and paper, v i + 150 leaves ( fol. 8 lacki ng) . Due t o the t i ght b i ndi ng and i nterleavi ng, the colla- t i o n cannot be det er mi ned; 16.6 x 12.4 c m (67i6" x 4 7 /s"). Text area 13.7 (varies) x 8.6 c m (5 3 /s" [ varies] x 3 W) , one col umn, number o f lines varies. Lat i n, Ger man, Itali an, Greek, and Heb r ew texts i n vari ous scripts (such asfraktur, antiqua, can- cellaresca, and mi r r o r wr i t i n g ) . Mo d e l Bo o k: 128 half-page mi ni a- tures (fols. 1129); Gui de: for t y- four full-page mi ni at ures (fols. 130151). Red mor occo b i ndi ng wi t h gol d-t ool ed dentelle border, gi l t edges; ei ghteenth century. Ms. 20; 86. MV. 527 C O N TEN TS : The texts o f the wr i t i n g samples are short excerpts f r o m the Bi bl e and vari ous prayer books and f r o m chancery documents. The unusual hi st or y o f the creati on o f this manuscri pt may be reconstructed largely f r o m numer ous references wi t h - i n its pages. Geor g Bocskay, the cour t secretary o f the Ho l y Roman Emper or Ferdi nand I (r. 15561564), wr ot e the Mo d e l Bo o k i n 1561 and 1562; he signed and/ or dated t went y- t wo folios. A l - t hough the page designs for his elegant scri pt var y as muc h as t hei r i ndi vi dual styles, Bocskay left substantial por t i ons o f most pages blank. Ab o ut t hi r t y years later, Emper or Rud o l f I I (r. 1576-1612) acqui red the manuscri pt , presumably by descent f r o m his grandfather Ferdi nand. Rudolf' s i nsi gni a appear repeatedly i n the Gui de t o the Const r uct i on o f Letters (for example, fols. 130v-138v, 151v). Geor g Hoefnagel, who entered i nt o the i mper i al service after 1590 or 1591, de- signed and i l l umi nat ed the second sec- t i on, for whi c h a di fferent vel l um t han that o f the Mo d e l Bo o k was used. He si gned and dated the Gui de 1596 ( fol. 151 v) . He also pr ovi ded the elaborate decorati on o f the mai n por t i on o f the book. Al t ho ug h not signed, the i l - l umi nat i o n o f the calli graphi c pages ranks wi t h Hoefnagel's finest represen- tations o f natural phenomena. Man y o f its mot i fs were engraved by Hoefnagel's son Jacob i n the Archetypa studiaque Georgii Hoefnagelii o f 1592. Hoefnagel i l l umi nat ed another Mo d e l Bo o k o f Calli gr aphy wr i t t en by Bocskay for Ferdi nand I ( Vi enna, Kunsthi stori sches Museum, i nv. no. 975). P R O VEN A N C E: Emperor Ferdinand I (?); Emperor Rudolf I I , Prague; Albert Mi lde, Vienna, by 1887; to Goldschmied, Frankfurt, 1907; Louis Koch, Frankfurt, by 1923; private collection, Switzerland, by 1942. B IB L IO G R A P H Y : F. Ritter, "Ei n Wiener Schriftmusterbuch aus dem 16. Jahrhundert mi t Miniaturmalereien," Mitteilungen des k.k. sterreich. Museums fr Kunst und Industrie. Monatschrift fr Kunstgewerbe, N. F 2, no. 17 (1887), pp. 336-342; S. Killermann, "Hoefnagel," Allgemeines Lexikon der bil- denden Knstler, U. Thieme and F. Becker, eds. (Leipzig, 1924), vol. 16, pp. 193-195; E. Kris, "Georg Hoefnagel und der wissenschaftliche Naturalismus," Festschrift fr Julius Schlosser, A. Weixlgrtner and L. Planiscig, eds. (Vienna, 1927), p. 244; I . Bergst r m, Dutch Still-Life Painting in the Seventeenth Century (New York, 1956), p. 32, i l l . fig. 29 (Ms. 20 is incorrectly identified there as being i n the Kunsthistorisches Mu- seum, Vienna); T. Sznt, "Ei n grosser Schreibknstler des XVI . Jahrhunderts," Gutenberg-Jahrbuch (1963), p. 38; T. Wilberg Vignau-Schuurman, Die emblematischen Elemente im Werke Joris Hoefnagels (Leiden, 1969), vol. 1, p. 9, and vol. 2, p. 11, n. 3; T Da Costa Kaufmann, Lecole de Prague (Paris, 1985), pp. 248 - 249, no. 9-9; I . Bergstr m, "On Georg Hoefnagels manner of worki ng wi t h notes; on the influence of the Archetypa series of 1592," Netherlandish Mannerism: Papers given at a symposium in Nationalmuseum Stockholm, September 2122, 1984, National- musei skriftserie, n.s. 4, G Cavalli-Bjrkman, ed. (Stockholm, 1985), p. 177. 29. ASSUMPTI ON OF THE VI RGI N, single leaf f r o m a book o f hours I l l umi nat ed by the Mast er o f Mo r gan 366 Tours, early 1470s Vel l um, 17 x 11.6 c m ( 6 W x 4 9 / i 6 ") . Text area 10.9 x 7.8 c m ( 4 5 / i 6 " x 3V8 ") , one col umn, fifteen lines. Lat i n t ext i n Got hi c script. One three-quarter- 29 (detail) page mi ni at ur e, one ful l border. Ms. 21; 86.ML.537 The text bel ow the mi ni at ur e, " Co n - verte nos deus . . ., " is the begi nni ng o f the readi ng for compl i ne i n the Hour s o f the Vi r g i n . Ot her leaves f r o m the same book o f hours represent The Body of Christ Supported in the Tomb by Two Angels ( London, Vi ct or i a and Al b er t Museum, No . 3015) and Job on the Dungheap [ Sam Fogg, Lo ndo n] ; a leaf representi ng the Ci r cumci si on and one depi ct i ng the Fl i ght i nt o Egypt may also come f r o m this manuscri pt [sale, Phi lli ps, London, September 20, 1984, lots 621 and 622 (present whereabouts unkno wn) ] . The Mast er o f Mo r gan 366 was a f o l - l ower o f Jean Fouquet (circa 1420circa 1481). Hi s eponymous wo r k is a book o f hours, no w i n the Pi erpont Mo r gan L i - brary, whi c h was wr i t t en and i l l umi - nated i n Tours, circa 1470, for a member o f the Jouvenel des Ur si ns fami ly. John Pl ummer has i dent i fi ed five other books o f hours that were i l l umi nat ed by this artist (The Last Flowering, ex. cat. [ Ne w Yor k, Pi erpont Mo r gan Li brary, 1982] , no. 59, pp. 44- 45 ) . P R O VEN A N C E: Original coat of arms wi t h the monogram MP supported by two ermines (?), unidentified; Evans, Great Britain, 1853; sale, Phillips, London, September 20, 1984, lot 620; [Sam Fogg, London] . Manuscripts 111 30 (fol. 6, detail) 30. BOOK OF HOURS Use o f Paris I l l umi nat ed by the Wor kshop o f the Bouci caut Master (active circa 1405-1420) and the Wor kshop o f the Rohan Mast er (active circa 1410-ci rca 1440) Paris, circa 1415-1420 Vel l um, i i i + 281 + i i leaves. Co l - l at i on: l 1 2 , 2 8 - l l 8 , 12 2 , 13 8 -14 8 , 15 2 , 16 8 -19 8 , 20 2 , 21 8 - 3 1 8 , 32 8 ( - 2, after fol. 235), 3 3 8 - 3 7 8 ; catchwords at the ends o f most quires; alpha- betical leaf signatures i r r egul ar l y t hr oughout ; 20.4 x 14.3 c m (8" x 5 5 /s"). Text area 10.7 x 6.7-6.9 c m ( 4 3 / i 6" x 2 5 / s2 u / i 6") , one col umn, fourteen lines. Lat i n and French text i n Got hi c script. Seventeen three- quarter-page mi ni at ures, t welve quarter-page calendar mi ni at ures, decorated borders o n every page, numerous decorated i ni ti als, gi l t edges pai nted wi t h floral designs. Whi t e bl i nd-st amped pi gski n b i nd- i ng over wooden boards; moder n, signed by Sangorski & Sutcliffe, London. Ms. 22; 86.ML.571 C O N TEN TS : Calendar i ncl udi ng Saint Ivo o f Br i t t any ( May 19) i n gol d and Saint Magl oi r e ( Oct ober 24) wi t h labors o f the mont hs and zodiacal signs (fols. 112v): A Man Warming Himself by a Fire ( fol. 1), A Man Warming Himself by a Fire ( fol. 2), A Man Pruning Vines ( fol. 3), A Falconer on Horseback ( fol. 4) , A Knight on Horseback ( fol. 5), A Man 30 (fol. 254, detail) 30 (fol. 72) 30 (fol. 113, detail) 112 Acquisitions/1986 Scything Hay ( fol. 6), A Man Scything and Baling Hay ( fol. 7v) , A Man Thresh- ing Wheat ( fol. 8v) , A Man Sowing Seeds ( fol. 9v) , A Man Harvesting Grapes and Another Man Pressing Them ( fol. lOv) , A Man Harvesting Acorns ( fol. Uv) , A Man about to Kill a Wild Boar ( fol. 12v); Gos- pel Sequences (fols. 1320v); Hour s o f the Vi r g i n , use o f Paris (fols. 2194): Annunciation ( fol. 21), Visitation ( fol. 48), Nativity ( fol. 60v) , Annunciation to the Shepherds ( fol. 67), Adoration of the Magi ( fol. 72), Presentation ( fol. 76v) , Flight into Egypt ( fol. 81), Coronation of the Vir- gin ( fol. 88v) ; Hour s o f the Cross (fols. 95-104) : Crucifixion ( fol. 95); Hour s o f the Ho l y Ghost (fols. 104v-112) : Pentecost ( fol. 104v); Seven Peni tenti al Psalms (fols. 113127): King David in Prayer ( fol. 113); l i t any i ncl udi ng saints Magl oi r e, Loui s, and I vo o f Br i t t any (fols. 127-136) ; Fifteen Joys o f Mar y, i n French (fols. 137142v): The Patron Presented to the Virgin and Child ( fol. 137); Seven Requests o f Our Lor d, i n French (fols. 143-146v) : Christ in Glory (Last Judgment?) ( fol. 143); Offi ce o f the Dead (fols. 147199v): Funeral Service ( fol. 147); Mass o f the Tr i ni t y (fols. 199v-204) , o f the Ho l y Spi r i t (fols. 204v- 207 v) , o f the Vi r g i n Ma r y (fols. 207 v- 209 v) , and for the Dead (fols. 209v212); prayers t o the Tr i ni t y (fols. 212v-215v) : The Trinity ( fol. 212v); vari ous prayers (fols. 216233); Verses o f Saint Ber nar d (fols. 23 3 v-23 5) ; prayers for whi c h Pope John offered 1100 days' i ndulgence (fols. 235235v); prayers for whi c h Pope Boni face offered t went y years' i ndulgence t o Ki n g Phi l i p ( fol. 235v) ; prayers t o the Vi r g i n , most i n r hymed French verse (fols. 236256v), l acki ng begi nni ng o f fi rst prayer and i n - cl udi ng O intemerata (fols. 244v248v), the Five Joys o f the Vi r g i n , i n French (fols. 251252), and Obsecro te (fols. 252v256v); memori als t o saints i n - cl udi ng A l l Saints, Mi chael , John the Bapti st, Peter and Paul, James, John the Evangelist, Bar t hol omew, George, Lawrence, Cosmas and Dami an, Deni s, Chri stopher, Sebastian, Ni cholas, A n - thony, Maur us, Mat ur i n , the Five Saints, Ma r y Magdalene, Catheri ne, Anne, Apol l oni a, Genevieve, and Mar - garet (fols. 257-280) : All Saints ( fol. 257), Saint Mary Magdalene ( fol. 274). Thi s book o f hours is the pr oduct o f a rare collaborat i on o f the wor kshops o f the Bouci caut and Rohan masters, the t wo leadi ng Parisian i l l umi nat or s o f the fi fteenth century. On l y one other j o i n t effort by t hem is kn o wn , a book o f hours o f circa 1420 ( London, Br i t i sh L i - brary, Har l ey Ms. 2940). The Bouci caut Mast er takes his name f r o m the book o f hours made for Jean le Mei ngr e, Mar echal de Bouci caut (Paris, Musee Jacquemart Andr e, Ms. 2) . I n ad- di t i o n t o his elegantly dressed, graceful figures and experi ments wi t h spatial i l l usi on, the Bouci caut Mast er is di s- t i ngui shed by his i nvent i ve palette and st art li ng color harmoni es. The large mi ni at ures i n Ms. 22 represent the mas- ter's late style and are close t o those i n another o f his late wor ks, a book o f hours i n Lo ndo n ( Br i t i sh Li brary, Ad d . Ms. 16997). I l l umi nat i o n by the hand o f the Bouci caut Master, who had a large wor kshop, is rare; yet the hi gh quali t y o f the mi ni at ures i n this book indicates they are either by the master hi msel f or by his most talented assistant. The wor kshop o f the Rohan Master, who is named for a book o f hours once owned by the Rohan fami l y (Paris, Bi b - li ot heque Nat i onale, Ms. Lat. 9471), ex- ecuted the calendar mi ni at ures o f the labors o f the mont hs. The Rohan Mas- ter pai nt ed gawky, expressive figures that are mor e realistic and true t o life t han the oft en idealized, cour t l y figures o f the Bouci caut Master. P R O VEN A N C E: Maj. John Charles Balfour, Balbirnie, Markinch, Fife (sale, Sotheby's, London, December 18, 1946, lot 567); Heinrich Eisemann, London; D. and J. Zwemmer (sale, Sotheby's, London, June 24, 1986, lot 100). B IB L IO G R A P H Y : D. Flower, A Thousand Years of French Books, ex. cat. (London, National Book League, 1948), no. 7, pp. 12-13; M. Meiss, French Painting in the Time of Jean de Berry: The Boucicaut Master (London, 1968), pp. 28, 96, 99-100, 144, n. 33 and 152, n. 9; figs. 120, 138, 239-244; idem, "La mort et l'office des morts a l'epoque du Maitre de Boucicaut et des Li mbourg, " Revue de Vart, 1-2 (1968), pp. 17-18; idem, French Painting in the Time of Jean de Berry: The Limbourgs and Their Contemporaries (London, 1974), pp. 261, 402; figs. 839 and 841; E. K ni g, Franzsische Buchmalerei um 1450 (Berlin, 1982), pp. 60, 77. 31 (fol. 205v, detail) 31. BOOK OF HOURS ( Cr ohi n-La Fontai ne Hour s) Use o f Rome I l l umi nat ed by the Mast er o f the Dresden Prayer Bo o k (active circa 1470-ci rca 1515) Probably Bruges, circa 1485-1495 Vel l um, i i i + 214 + i leaves. Col l a- t i on: l 6 - 2 6 , 3 8 ( +l , fol . 13), 4 8 ( +8, fol. 29; +10, -10, added leaf for - mer l y before fol. 32), 5 8 - 6 8 , 7 8 ( +4, fol . 50; - 6 , after fol . 52), 8 8 - 9 8 , 10 8 ( +1, fol. 71), l l 8 ( +5, fol . 84), 12 8 ( +2, fol. 90; +8 , fol. 96), 13 8 ( +3, fol . 101; +8 , fol . 106), 14 8 ( - 2, before fol . 109 [ thi s leaf is n o w fol . 126] ; +6, f o L 114), 15 8 ( +5, fol. 121; +10, fol . 126), 16 8 -17 8 , 18 8 ( +4, fol . 146), 19 8 -25 8 , 26 4 , 27 4 ( - 4, after fol . 214); 13.1-13.3x9.4-9.5 c m ( 5 3 / i 6 - 5 V4 " x 3 1 1 / i 6 - 3 3 / 4 " ) . Text area 6.8 x 4.1 c m ( 2 n / i 6 " x lVs"), one col - umn , seventeen lines. Lat i n text i n batarde script. Two full-page mi ni a- tures, t welve half-page mi ni at ures, t hi r t y-t hr ee hi stori ated borders, t went y-one hi st ori at ed i ni ti als. Bl i nd-t ool ed b r o wn calf b i ndi ng over pasteboard, si xt eent h-cent ury clasp engraved wi t h La Fontai ne arms and i ni t i als LF and adorned wi t h a mi ni at ur e por t r ai t o f Chr i st set under glass; J. Schavy, Brussels, fi rst hal f o f the ni net eent h century. Ms. 23; 86. ML. 606 Manuscripts 173 31 (fols. 121 v-122) C O N TEN TS : Calendar i ncl udi ng saints Basi l (June 14), Remi gi us and Bavo ( Oct ober 1), and Donat i anus ( Oct ober 14) i n red; Amal ber ga ( July 13) and Li evi n ( Li vi nus) ( November 12) i n black (fols. 112v); Arms of Marguerite Crohin ( fol. 13); Short Hour s o f the Cross (fols. 14-21) : Crucifixion ( fol. 13v); Short Hour s o f the Ho l y Spi ri t ( 22- 28 v) ; Arms of Lois de la Fontaine ( fol. 29); Mass o f the Vi r g i n (fols. 29v35): Virgin and Child Enthroned ( fol. 29v) ; Gospel Se- quences (fols. 3541 v) : Saint John on Patmos ( fol. 35), Saint Luke ( fol. 36v) , Saint Matthew ( fol. 38v) , Saint Mark ( fol. 40v) ; prayers t o the Vi r g i n : Obsecro te and O intemerata ( bot h i n masculi ne for m) (fols. 42- 49 v) : Virgin and Child Seated on the Ground ( fol. 42); Hour s o f the Vi r g i n , use o f Rome (fols. 51120): Annunciation ( fol. 50v) , Visitation ( fol. 71 v) , Nativity ( fol. 84v) , Annunciation to the Shepherds ( fol. 90v) , Adoration of the Magi ( fol. 96v) , Presentation in the Temple ( fol. 101 v) , Massacre of the Innocents ( fol. 106v), Flight into Egypt ( fol. 114v); Seven Peni tenti al Psalms (fols. 122-134v) : David and Goliath ( fol. 121 v) ; l i t any i n - cl udi ng saints Quent i n, Li evi n ( Li vi nus) , Amandus, Vedast, Remi gi us, Eli gi us, Egi di us, Audomar , Ber t i n, Wi nnoc, Bavo, Amalber ga, and Dympn a ( fol. 134v-145v) ; Offi ce o f the Dead, use o f Rome (fols. 146v193v): The Three Living and the Three Dead ( fol. 146v); memori als t o saints (fols. 194 - 209v) : John the Baptist in the Wilder- ness ( fol. 194), Saint Peter and Conversion of Paul ( fol. 194v), Saint John the Evangel- ist ( fol. 195), Saint James the Greater ( fol. 196), Saint Christopher ( fol. 197), Saint Sebastian ( fol. 198), Saint Adrian ( fol. 199) , Saint George and the Dragon ( fol. 200) , Saint Anthony Abbot ( fol. 201), Saint Nicholas ( fol. 202), Saint Gregory ( fol. 202v) , Saint Francis Receiving the Stigmata ( fol. 203v) , Mary Magdalene ( fol. 204), Saint Catherine ( fol. 205v) , Saint Barbara ( fol. 207), Saint Margaret ( fol. 208v) . 31 (fol. 146v, detail) 174 Acquisitions/1986 The Mast er o f the Dr esden Prayer Bo o k is named for a b ook o f hours i n East Ger many ( Dresden, Schsi sche Land- esbi bli othek, Ms. A. 3 U) . He was the onl y major Flemi sh i l l umi nat or o f the late fi fteenth cent ur y t o eschew the re- fi ned nat ur ali sm o f his most famous contemporari es, the Mast er o f Ma r y o f Bur gundy and the Mast er o f the Fi rst Prayer Bo o k o f Maxi mi l i an . As the mi ni at ures i n thi s manuscr i pt i llustrate, he treated nature i n a st yli zed manner; his human figures and ani mals have a dol l -l i ke quali ty. Nevertheless, at a fai r- l y early mo ment i n his career, pr obably no later t han 1485, i n such prayer books as the present one, he adopted the i l l u- si oni sti c borders whi c h had been i nt r o - duced a decade earlier by the afore- ment i oned artists and had become a hal l mar k o f Flemi sh i l l umi nat i o n. These borders o f flowers, gi l t acanthus, and insects on br i ght l y colored grounds gave the t wo-page openi ngs o f Flemi sh manuscri pts a new sumptuousness and l umi nosi t y. The Cr o hi n- La Fontai ne Hour s is remarkable for its color har- moni es, whi c h uni fy the page desi gn o f pi ct or i al l y di sti nct, even contrasti ng, areas o f border and mi ni at ur e. One o f the most engagi ng storytellers o f his day, he conveyed beni gnl y the humo r and i r ony latent i n vari ous bi bli cal and other devot i onal narratives. Four other mi ni at ures i l l umi nat ed by thi s artist, dat i ng f r o m the end o f his career, appear i n the Museum' s Spi nola Hour s ( Ms. L ud wi g I X 18, fols. 109v, 110, 119v, and 120). The t wo full-page coats o f arms (fols. 13 and 29) i n Ms. 23 are by other artists and were not added unt i l the mi ddl e o f the si xteenth century. P R O VEN A N C E: Marguerite Crohi n (d. 1552); bequeathed to Nicolas, Abbot of Saint Jan en Valien; Lois de la Fontaine, by 1575; Wi lli am Lori ng Andrews; Cortlandt F. Bishop (sale, American Ar t Association, Anderson Galleries, New York, Apr i l 25-27, 1938, lot 1434); to Elizabeth P. Mart i n, Upper Montclair, New Jersey; bequeathed to Elizabeth Ki ng Robbins, Berkeley, Califor- nia; bequeathed to her children, Deborah, Peter, and Daniel Robbins, 1978. B IB L IO G R A P H Y : S. de Ricci and W. J. Wilson, Census of Medieval and Renaissance Manuscripts in the United States and Canada (New York, 1937), vol. 2, p. 1660, no. 37. 32 (Leaf IV, detail) 32. FIVE LEAVES FROM A NOTED BENEDI CTI NE BREVI ARY No r t her n It aly ( probably f r o m the Veneto) , circa 1420-1430 Vel l um, five leaves. 46.5 x 34-34. 6 c m (187i6" x 137i 6-13 5 / 8 ". Text area 33.8 (varies f r o m 33.3 t o 34.4 cm) x 22.1 c m ( 13 5 / i 6 " [ varies f r o m DVs" t o 13 9 / i 6 "] x 8
/ i6"), one col umn, ei gh-
teen lines (someti mes i ncl udi ng musi cal staves). Lat i n text i n Got hi c script. Five hi stori ated i ni ti als, five decorated borders. Ms. 24; 86.ML.674 C O N TEN TS : Leaf I ( or i gi nal l y fol. 73): readings for mati ns o f the second feria, i ncl udi ng Ps. 38 wi t h Benedictine Monk with His Finger to His Lips Standing in a Rocky Landscape; Leaf I I ( or i gi nal l y fol . 109): readings for mat i ns o f the four t h feria, i ncl udi ng Ps. 68 wi t h Benedictine Monk Saved from Drowning; Leaf I I I ( or i gi nal l y fol. 151): readings for mat i ns o f the si xt h feria, i ncl udi ng Ps. 95 wi t h Benedictine Monks Singing at a Lectern; Leaf I V ( or i gi nal l y fol . 170): readings for mat i ns on Saturday, i ncl udi ng Ps. 105 wi t h A Novice Kneels before a Benedictine Monk; Leaf V ( or i gi nal l y fol . 253): read- i ngs for vespers on the fi rst Saturday i n Advent , i ncl udi ng the h y mn Conditor alme syderum wi t h God Creating the World. Ot her leaves f r o m this brevi ary are i n the John Frederick Lewi s collect i on o f European manuscri pt leaves at the Free Li br ar y o f Phi ladelphi a ( M64: 8~10) ; the Pi erpont Mo r gan Li brary, Ne w Yor k ( M.885) ; and ex. col l . H. P. Kraus (see Fifty Medieval and Renaissance Manuscripts, sale cat., 88 [ 1958] , i t em 17. Met a Harrsen ( i n Central European Manuscripts in the Pierpont Morgan Library [ Ne w Yor k, 1958] , no. 53, p. 65) at t ri but ed t hem t o an artist whose Tyrolean nat i onali t y was revealed by the mi xt ur e o f Aust r i an and Itali an styles manifested i n the borders and figures, r espect i velywhi ch she discerned i n t hem. Al t ho ug h the vines i n the borders are mor e abstract t han the lush foliage whi c h usually grows i n the margi ns o f Itali an manuscri pts, they are not so t hi n or so flat and geometri c as those t yp- i cally found i n Aust r i an manuscri pts; and the script, i ni ti als, and style o f the figures are t hor oughl y Itali an. The character o f the borders pr obably re- flects the i mpact o f Aust r i an i l l umi na- t i on on a nor t h Itali an artist. Sout hern Aust r i a and nor t her n It aly had enjoyed close commer ci al and cult ur al ties since at least the early Trecento, and It ali an artists, who are k n o wn t o have wo r ked i n the Tyr ol t hr oughout the fourt eent h and fi fteenth centuries, wo ul d certai nly have been aware o f Aust r i an styli sti c conventi ons. P R O VEN A N C E: Sale, Sotheby's, London, June 24, 1986, lots 24 and 25; [ H. P. Kraus, New York] . 32 (Leaf II, detail) Manuscripts 175 33 (fol. 16v, detail) 33. ATTRI BUTED TO JEAN GERSON La Passion [de Nostre Seigneur Ihesus Crist]; La Vengence de la Mort et Passion de Nostre Vray Sauveur et Redempteur Ihesucrist I l l umi nat ed by the Mast er o f Gui l l aume Lamber t and Wor kshop Lyons, circa 1480-1490 Vel l um, i i + 86 + i i leaves. Col l a- t i on: l 8 - 7 8 , 8 8 (1 and 6 reattached), 9 8 - 10 8 , I I 2 , 12 4 ; 30.4 x 21.6 c m ( l l 1 5 / i 6 " x 8V2"). Text area 19.6 x 13.1 c m (7 n /ie" x 5 3 /s"), one col umn, t hi r t y-fi ve lines. French text i n batarde script. Si xteen three-quarter- page mi ni atures, numerous decorated i ni ti als. Ms. 25; 86. MN. 730 C O N TEN TS : Fol. 1: A la louange de Di eu et de la Vi erge souveraine et de tous sains et sainctes de paradis. Et a la re- queste de excellente et redoubtee dame et puissant princesse Dame Ysabel de Bavieres par la grace de di eu royne de France. J'ay tra[ n] slate ceste passion de l at i n en francois sans y adiouster mor al i - tez hystories, exemples ou figures. L'an mi l deux [ sic] cens quatre vi ngs et di x- hui t., The Raising of Lazarus ( fol. 1); fol . 3: De la cene que Mar i e Magdalene et Mar i e Mar t he sa soeur fi rent a Nost r e Seigneur Ihesucrist. Et de l' onguement que Mar i e Magdalene respandy sur Ihesus., Supper in the House of Mary and Martha, Mary Magdalene Anoints the Feet of the Lord ( fol. 3v) ; fol. 5v: Co mment Nost r e Seigneur Ihesus Cr i st acom- paigne de ses disciples et appostres entra en la cite de Iherusalem assis sur une asnesse. Et comment les i ui fz le re- ceurent a grandes processions., The En- try into Jerusalem ( fol. 5v) ; fol. 7v: Co mme[ n] t les Juifz admenerent devant N[ ost ] r e Seigneur Ih[ es] us Cr i st cui dant le surprendre et accuser par ses parolles une femme pri nse et trouvee en adul- tere. La responce de Ih[ es] us et co[ m] ment i l deli vra la d[ i ] c[ t ] e femme., Christ and the Adulteress ( fol. 8); fol . 9v: Co mment Nost r e Sauveur Ihesus Cr i st fut assailly ou t emple des maistres de la l oy herodyane saduciene et pharisiene. Co mment i l leur respondy et de pl u- isieurs paraboles qu' i l leur proposa comme i l s'ensuit., Christ Disputing with the Pharisees in the Temple ( fol. 10); fol. 12v: Co mment la Vi erge Mar i e s'en ala au devant de son fi lz qui avoit bi en tard demoure en la cite de Iherusalem. De l'assiette que Nost r e Dame fist au soup- per. Et comment elle mi st et assey Iudas le t rahi t t re a la table ou mi l i eu d'elle et 33 (fol. 32v, detail) 33 (fol. 8, detail) 176 Acquisitions/1986 de son fi lz., Judas Seated at a Table be- tween Christ and the Virgin ( fol. 13); fol. 14: Co mment Nost r e Dame fist a son fi lz entre les autres quatre requestes mo ul t piteuses. D u conseil que les i ui fz t i ndr ent sur la mo r t de Ihesus Cri st . Et commant [ sic] le mauvais t rahi t re Iudas le ve[ n] dy., Judas Conspiring with the Jews, Christ Speaking to the Virgin ( fol. 14v); fol . 16: Co mme n t N[ ost ] r e Seigneur mengea l' ai gni el de pasques avecques ses appostres et disciples. Co mmen t i l lava les piez et co[ m] ment i l leur admi ni st r a son preci eux corps., Christ Washes the Feet of His Apostles, The Last Supper ( fol. 16v); fol . 20v: Co m- ment Nost r e Seigneur apres la cene s'en ala ou j ar di n d' oli vet avecques ses di sci - ples pour pri er Di eu son pere. Et c o m- ment Iudas le t rahi t t re acompai gne des serviteurs des maistres de la l oy le v[ i ] nt prendre a mai n armee., The Agony in the Garden ( fol. 21); fol . 24v: Co mmen t N[ ost ] r e Seigneur relenqui de ses di sci - ples fut des i ui fz mene en l' ostel de A n - nas l'evesque. Et comment le di t Annas le questi onna, i nt erroga et frappa., Christ Brought before Annas ( fol. 25); fol . 27: Co mmen t Cayphas questi onna et interroga N[ ost ] r e Seigneur et l ui couppa ses vestemens. Co mment i l fut i ni ur i e des faulx i ui fz et comment les faulx t esmoi ng l'accuserent comme ho mme di gne de mor t ., Christ Brought before Caiaphas ( fol. 27); fol . 29: Co mment Nostre Seigneur fut amene devant Pylate i uge lequel le questi onna et la cui da par pluisieurs fois deli vrer des mai ns aux i ui fz. Et comment Iudas rendy aux i ui fz les trente deniers, Christ Brought before Pilate, Judas Returns the Thirty Pieces of Silver ( fol. 29); fol . 32: Co mment Pylate envoya Nost r e Seigneur au roy Herodes lequel l ui fist pluisiers demandes. Et ap- res ce qu' i l l'eust vestu de blancq comme ung fol. Le renvoya arriere a Pylate., Christ Brought before Herod ( fol. 32v) ; fol . 33v: Co mmen t Pylate fist batre Nost r e Seigneur par deux fors hommes a une col ompne et puis par mocqueri e le fist vesti r d' un vi el manteau de pour pr e en guise d' un roy. Et comment par pl u- isieurs fois et par plusieurs [ sic] man- ieres le cuida deli vrer des mai ns aux Juifz., The Flagellation, Christ Crowned with Thorns, Mocking of Christ, Pilate Washing His Hands ( fol. 33v) ; fol . 37v: Co mment N[ ost ] r e S[ ei ] g[ neu] r port a sa cr oi x et de sa dure et mervei lleuse mor t ., Bearing of the Cross ( fol. 38); fol. 61: S'ensuit la vengence de la mo r t et passion de N[ ost ] r e vray Sauveur et Redempt eur Ih[ es] ucri st laquelle quarante ans apres ce que Ih[ es] ucri st mo r ut en la cr oi x fut faicte et demenee par les empereurs r ommai ns Ti t us et Vaspasianus [ sic] sur les Juifz par la mani ere qui s'ensuit., The Destruction of Jerusalem ( fol. 61). La Passion [de Nostre Seigneur Iheusus Crist], a devoti onal narrative based on the Meditationes vitae Christi, was composed i n 1398 for Isabel o f Bavaria, possi bly by Jean Gerson (13631429), who became chancellor o f Not r e-Dame and o f the Uni ver si t y o f Paris i n 1395 and who was, for most o f his life, a close coun- selor t o the Valois dukes Phi l l i pe le Har di and Jean de Berry. On l y one other i l l umi nat ed copy o f this text has thus far been i dent i fi ed (Paris, Bi b l i - otheque Nat i onale, Ms. Fr. 978), al - t hough t went y- t wo blank spaces i n a second manuscri pt (Paris, Bi bl i ot heque Mazari ne, Ms. 949) were presumably i nt ended for mi ni atures. The artist takes his name f r o m his wo r k i n a book o f hours signed by its scribe, Gui l l aume Lamber t o f Lyons, and dated 1484 {Catalogue, Ber nar d Quar i t ch, Lt d . [ London, 1931], no. 47, pp. 3435; present whereabouts un- kno wn) . Mo r e than t went y manuscri pts have been at t ri but ed t o this artist and his circle, i ncl udi ng a book o f hours i n the J. Paul Get t y Mus eum ( Ms. 10) and t wo copies o f Jean de Courcy, Chronique de la Bouquechardiere (Paris, Bi bl i ot heque Nat i onale, Ms. Fr. 698, and Geneva, Bi bl i ot heque Publi que et Uni versi t ai re, Ms. Fr. 70), whi c h are close i n for mat t o the present manuscri pt. P R O VEN A N C E: Guillaume Mole and his wife, Simone Le Boucherat, Troyes (married June 19, 1467; died September 25, 1507, and February 17, 1519, respectively); Antoine de Ferriol, comte de Pont-de-Vesle; Gaignat; de Soleinne, Paris, by 1843 (No. 523); [Bernard Breslauer, New York] . B IB L IO G R A P H Y : C.-G. Le Clerc, Catalogue des Livres imprimis et manuscrits de M. Le Comte de Pont-de-Vesle (Paris, 1774), p. 13, no. 124; P. L. Jacob, Bibliotheque dramatique de Monsieur de Soleinne (Paris, 1843), vol. 1, p. 89, no. 523; Anon. (Techener?), "Histoire de la Passion de Notre Seigneur Jesus-Christ," Bulletin du bib- liophile 6th ser., no. 5 (March 1844), pp. 843-846. PAINTINGS D U T C H 34. GERRIT DO U Dut ch, 1613-1675 Astronomer by Candlelight, late 1650s O i l on panel, 32 x 21.3 c m (127s" x 87s"). Signed: GDov ( GD i n li ga- ture) on the book at the l ower left. 86.PB.732 Do u pai nt ed several di fferent composi - ti ons depi ct i ng astronomers seated i n wi ndo ws or niches and surrounded by the attributes o f t hei r profession. Exam- ples can be found i n the Her zog An t o n Ul r i c h- Museum, Br unswi ck, and the Statens Museum for Kunst, Copenhagen. P R O VEN A N C E: Possibly Adriaen van Hoek (sale, Amsterdam, Apr i l 7, 1706, lot 2); Wi lhelm Six (sale, Amsterdam, May 12, 1734, lot 18); probably Wi lhelm VI I , Land- graf von Hessen-Cassel; Lapeyriere (sale, Paris, Apr i l 14, 1817); Joseph Barchard (sale, London, May 6, 1826); [John Smith, Lon- don] ; Wi lli am Beckford, London; Hume, London, by exchange; R. H. Fitzgibbon (la- ter Thi rd Earl of Clare), by 1839 (sale, Lon- don, June 17, 1864); Wi lli am Delafield (sale, London, Apr i l 30, 1870); Albert Levy (sale, London, Apr i l 6, 1876, lot 329); Barkley Field, London, by 1888; Lord Astor of Hever, after 1907 (sale, Sotheby's, London, July 6, 1983, lot 80); [Johnny van Haeften, London] ; Gerald Guterman, New York. B IB L IO G R A P H Y : J. Smith, A Catalogue Raisonne of the Works of the Most Eminent Dutch, Flemish, and French Painters (London, 1829), pt. 1, no. 96 and suppl. no. 15; W. Mart i n, Het leven en der werken van Gerrit Dou be- schouwd in verband met het schildersleven van zijn tijd (Leiden, 1901), pp. 190, 234, nos. 52, 314; C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hevor- ragensten hollndischen Maler des XVII. Jahr- hunderts (Esslingen am Neckar and Paris, 1907), vol. 1, nos. 63c, 210; Philadelphia Mu- seum of Ar t , Masters of Seventeenth-Century Dutch Genre Painting, ex. cat. (Philadelphia, 1984), no. 35. 35. GERARD TER BORCH Dut ch, 1617-1681 The Horse Stall, circa 1652-1654 O i l on panel, 45.3 x 53.5 c m (lTW x 21716''). Signed: GTB i n li gature on the back o f the panel. 86.PB.631 Since Hofstede de Gr oot (1913), this pai nt i ng has been considered as a pen- dant t o the Museum' s The Cow Shed (83.PB.232; i n GettyMusJ 12 [1984] en- t i t l ed A Maid Milking a Cow in a Barn and dated circa 1650). However, nei ther panel can be traced before the late ei gh- teenth century, when they were already separate; moreover, The Horse Stall is 34 178 Acquisitions/1986 mor e t han one i nch shorter t han The Cow Shed. Copi es o f The Horse Stall that appeared i n ei ght eent h-cent ury auctions r emai n untraced i n moder n ti mes. For a ful l discussion, see the article by Peter Sut t on i n thi s Journal. P R O VEN A N C E: Sale, Amsterdam, August 14, 1771, lot 3, as by Metsu, bought by Nyman; Louis-Francois de Bourbon, prince de Conti (sale, Paris, Apr i l 8-June 6, 1777, lot 832, bought by [ Lannoy] ; M. Poullain (sale, Paris, March 15-21, 1780, lot 41, bought by [ Lan- glier] ; Count G. A. Sparre, Sweden; Count G. Wachtmeister, Wnas, Sweden, by descent to about 1980; [ Edward Speelman, London, 1981]; Fellowship of Friends, Renaissance, California, through [ Marco Grassi, New York] . B IB L IO G R A P H Y : F. Basan, Tableaux du cabinet de M. Poullain (Paris, 1780), no. 103; J. Smith, A Catalogue Raisonne of the Works of the Most Eminent Dutch, Flemish, and French Painters (London, 1833), pt. 4, no. 21; C. Hofstede de Groot, A Catalogue Raisonne of the Works of the Most Eminent Dutch Painters of the Seven- teenth Century (London, 1913), vol. 5, no. 464; E. Plietzsch, Gerard ter Borch (Vienna, 1944), no. 33; S. J. Gudlaugsson, Gerard ter Borch (The Hague, 1959-1960), vol. 1, pp. 96, 266, vol. 2, no. 109; Mauritshuis, The Hague, and Landesmuseum, Mnster, Gerard ter Borch, ex. cat. (The Hague and Mnster, 1974), no. 31; E. Young, "Ol d Master Paint- ings i n the Collection of the Fellowship of Friends at Renaissance, California," Apollo 121, no. 280 (June 1985), pp. 375 - 376; P. Sut- ton, "The Noblest of Livestock," GettyMusJ 15 (1987) pp. 97-110. 36. NI COLAES BERCHEM Dut c h, 1620-1683 Landscape with Figures, circa 1653-1654 O i l on canvas, 139.7 x 174 c m (55" x 68V2"). Signed: Berchem F. at the l ower r i ght . 86.PA.731 Renate Tr nek dates the pai nt i ng to circa 16531654 on the basis o f a compar i son wi t h the Ber chem Landscape i n the Mu - see du Louvr e, signed and dated 1653. A black-chalk study o f the central female fi gure gatheri ng wo o d is i n the Kup- ferstichkabinet, Ber l i n ( Kd Z 8518). P R O VEN A N C E: H. Twent (sale, Leiden, August 11, 1789, lot 2); Fouquet; Pierre de Grand-Pre (sale, Paris, February 16, 1809); Alexis De- lahante (sale, London, July 8, 1828); Edward Holland (sale, Christie's, London, May 22, 1830, lot 104, bought in); R. C. Gosling, by 1834 (sale, Christie's, London, January 26, 1920, lot 139); anonymous sale, Christie's, London, July 2, 1976, lot 61; [ Norbert Pokutta, Muni ch] ; Gerald Guterman, New York. 36 B IB L IO G R A P H Y : J. Smith, A Catalogue Raisonne of the Works of the Most Eminent Dutch, Flemish, and French Painters (London, 1834), pt. 5, no. 144; C. Hofstede de Groot, A Cata- logue Raisonne of the Works of the Most Eminent Dutch Painters of the Seventeenth Century (Lon- don, 1926), vol. 9, no. 341. 37. JACOB VAN RUI SDAEL Dut c h, 1628/ 29-1682 The Sluice, circa 1648-1649 O i l on panel, 39.4 x 55.9 c m (157 2 " x 22"). Signed: JVR i n mo no gr am at the l ower left. 86.PB.597 The pai nt i ng is i llust rat ed on the Choi seul Go l d Box, about whi c h see F. J. B. Watson (The Choiseul Gold Box [ London, 1963] , p. 9, fi g. 2) . Thi s box, pai nt ed by Loui s-Ni col as van Bl ar en- berghe circa 17701771, depicts r ooms i n the Ho t el de Choi seul, Paris, and shows the di st r i but i on o f the due de Choiseul' s pai nt i ngs collect i on. The Sluice hung wi t h the finest pictures i n the "Pr emi er cabinet, " on the upper ti er o f the left-hand wal l . Three other Ruisdael pai nt i ngs o f sluices are kn o wn : The Sluice (1647, Enschede, Ri j ksmuseum Twent he, Hd G 659); The Sluice (early 1650s, Christie's, Ne w Yor k, December 2, 1983, l ot 28, Hd G 674); and Wooded Landscape with a Sluice at a River Bank (circa 16651670, Toledo Mus eum o f Ar t , Hd G 675). P R O VEN A N C E: Gerard Block, The Hague, 1744; Wi llem Lormier of Francken, The Hague (sale, July 4, 1763, lot 225); due de Choiseul, Hotel Crozat de Chtel, later Hotel de Choiseul, Paris (sale, Hotel de Choiseul, Apr i l 6, 1772, lot 66); Louis- Franqois de Bourbon, prince de Conti , Paris (sale, Apr i l 8-June 6, 1777, lot 406); Morelli collection (sale, Paris, 1786); [Jean-Baptiste Pierre Leb run, Paris]; Baron van Brienen van de Grootelindt, The Hague (sale, Hotel Drouot, Paris [Charles Pillet, commissaire- priseur], May 9, 1865, lot 32); Eugene Secre- tan, Paris (sale, Sedelmeyer Gallery, Paris, July 1, 1889, lot 160); Mrs. John W. Simpson, New York, by 1912; [Knoedler Galleries, New York, 1942, on consignment from Mrs. Simpson]; Harold E. Montag, Atlanta, from 1943; Georgia Institute of Technology, Atlanta; [French and Company, Inc., New York] . B IB L IO G R A P H Y : Metropolitan Museum of Art , New York, the Hudson-Fulton Celebration, Exhibition of Paintings by Old Dutch Masters, ex. cat. (New York, 1909), no. 109; C. Hofstede de Groot, A Catalogue Raisonne of Paintings 179 37 the Works of the Most Eminent Dutch Painters of the Seventeenth Century (London, 1912), vol. 4, no. 663; J. Rosenberg, Jacob van Ruisdael (Berlin, 1928), no. 448; K. E. Simon, Jacob van Ruisdael. Eine Darstellung seiner Ent- wicklung (Berlin, 1930), p. 26; S. Slive, Jacob van Ruisdael, ex. cat. (Mauritshuis, The Hague, and Fogg Ar t Museum, Cambridge, Mass., 1981), p. 118. 38 38. FRANS VAN MIERIS THE ELDER Dut ch, 1635-1681 Doctor's Visit, 1667 O i l on panel, 44 x 33 c m ( I T / / x I2V4") (arched t op) . Signed and dated: Frans Mieris / Ao 1667 on the uppermost r ung o f the chair. 86.PB.634 Thi s may be the wo r k Balthasar de Monconys saw the artist pai nt i ng i n 1663 and also the one Ar n o l d Houbr aken says was painted for Cornelis Paedtswhi ch Cosi mo I I I de Medi c i t r i ed i n vai n t o buy f r o m the artist. A number o f versions o f the composi t i on (a favorite theme i n seventeenth-century Dut c h art) are recorded, al t hough onl y the one i n the Museo Frans Mayer ( for- mer l y i n the Museo de San Carlos, b o t h i n Mexi c o Ci t y) , can be traced today. P R O VEN A N C E: Possibly Philipp Wi lhelm, Elector Palatine; Johann Wi lhelm von der Pfalz, Elector Palatine, Dsseldorf, by 1716; transferred to Mannheim, 1730; Alte Pinakothek, Muni ch, by 1863-1935; [ A.G., Zurich and Eindhoven, 1935-1937]; [ D Katz, Dieren, 1938]; H. E. ten Cate, Almelo, the Netherlands, i n 1960; Sidney van den Bergh, Wassenaar;J. van Duijvendijk, Scheveningen; H. Kastengren, Stockholm, by 1967; sale, Sotheby's, London, March 19, 1975, lot 13; [Joseph Leegenhoek, Paris, 1975-1977]; Jean-Louis Dupre, Paris, 1977-1986 (sale, Sotheby's, Monte Carlo, June 19, 1986, lot 26). B IB L IO G R A P H Y : Alte Pinakothek, Muni ch, Catalogue (Munich, 1930), no. 549; Nationalmuseum, Stockholm, "Hollndska Mstare i Svensk Ago, " ex. cat. (Stockholm, 1967), no. 104; O. Naumann, Frans van Mieris the Elder (Doornspijk, the Netherlands, 1981), vol. 1, pp. 69 - 70, and vol. 2, pp. 84-87, no. 71. 39 39. GODFRI ED SCHALCKEN Dut ch, 1643-1706 The Annunciation, early 1670s O i l on panel, 26.3 x 20.5 c m (107s" x 8Vi6 w ); unpai nt ed moder n wooden strips ( 7 / wi de) added t o all sides. Signed: G. Schalcken i n the upper left corner. 86.PB.464 Thi s small panel is i conographi cally no- table for the wi ngless angel and for the Vi r g i n , who holds a scroll rather than the mor e cust omary book. A n An n un - ci at i on by the artist was last seen i n a 1900 auct i on i n Ber l i n (Hofstede de Gr oot [ London, 1913], vol . 5, p. 315, no. 10). P R O VEN A N C E: S. E. Herren von Saint Saphorin (sale, Vienna, May 19, 1806, lot 396); Bernard de Mestral, thence by descent; sale, Christie's, London, Apr i l 19, 1985, lot 98; [ Edward Speelman, London, 1985-1986]. 180 Acquisitions/1986 F L E MI S H 40 40. JACOB VAN HUL S DONCK Flemi sh, 1582-1647 Still Life with Lemons, Oranges, and a Pomegranate, circa 16201640 O i l o n panel, 42 x 49.5 c m (I6V2" x 19V 2 "). Signed: J. VHVLSDONCK ( VH i n li gature) at the l ower left. 86.PB.538 The bl ue-and-whi t e porcelai n b o wl dates f r o m the Wan- Li per i od (1573-1619) o f the Mi n g dynasty. O f several pentimenti, the most i mpor t ant is a kni fe, or i gi nal l y t o the left o f the b o wl , whi c h has been pai nt ed out but is st i l l vi si ble t o the naked eye. The kni fe is present i n t wo si mi l ar st i l l lifes, one signed by Hul sdonck (sale, Palais de Congres, Versailles, May 24, 1972, l ot 52), the other unsi gned (sale, Sotheby's, London, November 17, 1982, l ot 76). P R O VEN A N C E: Sale, Hotel Drouot, Paris, December 16, 1942, lot 54; [ Didier Aaron, Inc., New York, 1985]. B IB L IO G R A P H Y : E. Greindl, Les Peintures fla- mands de nature morte au XVIV siede (Ster- rebeek, Belgium, 1956), p. 256, fig. 143; S. H. Paviere, A Dictionary of Flower, Fruit, and Still- Life Painters (Leigh-on-Sea, England, 1962), vol. 1, p. 36. 41 41. A N THO N Y VAN DYCK Flemi sh, 1599-1641 Thomas Howard, Second Earl of Arundel, 1620-1621 O i l on canvas, 102.8 x 79.4 c m (40V 2 " X 31V4") 86.PA.532 I n 1620 Thomas Howar d, Second Ear l o f Ar undel l andowner , statesman, connoisseur and col l ect or i nvi t ed the young van Dyc k t o England. Thi s por - trai t, reflecti ng the painter's allegiance t o his master Rubens as wel l as his exposure t o si xt eent h-cent ury Veneti an pai nt i ng i n the earl's collect i on, dates f r o m this fi rst, short vi si t . I n his left hand, the earl holds the badge o f the Or der o f the Garter, awarded h i m i n 1611. A small pr el i mi nar y study on "car- t on" belonged t o the Robartes fami l y i n the ni net eent h cent ury and is last men- t i oned by Rooses (see bel ow) ; a later versi on or copy wi t h the same composi - t i on, cropped t o focus on the sitter's face, is i n a pri vate collect i on (Larsen, no. 281). The por t r ai t was engraved three t i mes i n the ni net eent h cent ury (by Tardieu, Tomki ns, and Sharp) whi l e i n the Sutherland collect i on. P R O VEN A N C E: Probably commissioned by Thomas Howard, Second Earl of Arundel (15851646); said to have been given by hi m to Georges Villiers, First Duke of Buck- ingham, by 1628; Philippe, due d'Orleans (le Regent), by 1727; by descent to Philippe, due d'Orleans (Philippe Egalite), unt i l 1792; citoyen Robit, Paris (sale, May 11, 1801, lot 36); Francis, Thi r d Duke of Bridgewater (1736-1803), Cleveland House (later Bridgewater House), London, from 1801; his nephew Lord Gower, later Second Marquess of Stafford and First Duke of Sutherland (1758-1833); by descent wi t h the dukes of Sutherland, Stafford House, London, unt i l circa 1913; Frits Gans, Frankfurt; Bachstitz collection, The Hague; Daniel Guggenheim, New York, i n 1929; Mrs. Daniel Guggen- heim, New York, i n 1931, unt i l at least 1939; Robert Guggenheim, Washington, D C, i n 1950; Mrs. David Guggenheim, New York; Mr . and Mrs. Francis Lenyon; Rebecca Paintings 181 Pollard Logan, Washington, D.C., i n 1980 (sale, Christie's, London, July 8, 1983, lot 92) [Thomas Agnew and Sons, Lt d.] ; Swiss pr i - vate collection; [Thomas Agnew and Sons, Ltd., 1986]. B IB L IO G R A P H Y : L. Cust, Anthony van Dyck (London, 1900), pp. 23, 268, no. 1; M. Rooses, Fifty Masterpieces of Anthony van Dyck (London, 1900), pp. 89-90; M. F. S. Hervey, The Life, Correspondence and Collections of Thomas Howard, Earl of Arundel (Cambridge, England, 1921), pp. 187-188; E. Larsen, Lopera completa di Van Dyck, 16131626 (Milan, 1980), p. 105, no. 280; A. McNai rn, The Young van Dyck, ex. cat. (Ottawa, Na- tional Gallery of Canada, 1980), no. 65; O. Millar, Van Dyck in England, ex. cat. (Lon- don, National Portrait Gallery, 1982), no. 2. F R E N C H 42. JEAN-SI MEON CHARDI N French, 1699-1779 Still Life, circa 1759-1760 Oi l on canvas, 37.8 x 46.7 c m (147s" x 187s"). Signed: Chardin at the left center. 86.PA.544 What appears to be a later versi on, or a very si mi lar pai nt i ng, signed and dated 1761 and probably exhi bi t ed at the Salon o f 1763 (no. 62), was offered but t hen wi t hdr awn f r o m the Lemoyne sale (Paris, August 10, 1778, l ot 10) and was last seen when sold i n Paris ( May 19, 1828, l ot 62). Georges Wi l denst ei n (1963, no. 32) confuses the provenances o f the t wo pai nti ngs. The Museum' s pi cture is closely related to a st i l l li fe i n the Rei nhart collect i on, Wi nt er t hur , and t o a versi on o f that pai nt i ng i n a French pri vate collect i on ( Wi ldenst ei n, 1963, no. 334). P R O VEN A N C E: Aubert, Paris (sale, Paris [Paillet and Hugues, commissaires-priseurs], March 2-4, 1786, lot 56); la comtesse de Croismare, Folie de Montfermeil; Maurice Massignon; Charles Masson, Paris, by 1907; Pierre Masson, Paris, by descent, unt i l about 1935; private collection, England; [Societe Spiess, Paris]. B IB L IO G R A P H Y : A. Dayot andj. Guiffrey, J.-B. Simeon Chardin (Paris, 1907), no. 180; Rijks- museum, Amsterdam, Exposition retrospective d'art francais, ex. cat. (Amsterdam, 1926), no. 18; G. Wildenstein, Chardin (Paris, 1933), no. 793; G. Wildenstein, Chardin (Zurich, 1963, rev. ed., Oxford, 1969), no. 321; P. Rosen- berg, Tout Voeuvre peint de Chardin (Paris, 1983), no. 153. 42 43. HUBERT ROBERT French, 1733-1808 A Hermit Praying in the Ruins of a Roman Temple, circa. 17601764 O i l o n canvas, 58 x 70.5 c m ( 227 / x 27 7 / ) . Inscri bed: ROBERT / FECIT / FIO . .NT/ PORT. . . 176. . . [last di gi t obscured, perhaps 1760?] i n the wal l at center. 86.PA.605 I n his article i n this Journal, Vi ct or Car l - son dates the pai nt i ng t o 1760 on the basis o f a compar i son wi t h a dr awi ng by Robert i n the Louvr e, signed and dated i n that year, i n whi c h the general ar- rangement o f the archi tectural setti ng is si mi lar t o that i n the Museum' s canvas. The dr awi ng is i llust rat ed i n Le Louvre d'Hubert Robert (ex. cat. [Paris, Musee du Louvr e, 1979] , fi g. 48). I n the 1777 sale o f the pri nce de Cont i ' s collect i on, the Museum' s pai nt - i ng was pai red wi t h a pendant vi ew o f the i nt er i or o f a colonnaded temple, no w lost, described i n the sales cata- logue ( lot 753) as " . . . un charri ot r empl i de foi n, un ho mme & une femme a cheval, d'autres figures & un troupeau de mout ons." 43 P R O VEN A N C E: Louis-Frangois de Bourbon, prince de Conti (sale, Paris, Apr i l 8June 6, 1777, lot 752); Desmarets; Prince Pyotr Ivanovitch Tufialkin, Paris (sale, Paris, May 23, 1845, lot 65); private collection, Paris (sale, Galerie Sedelmeyer, Paris, March 25, 1892, lot 53); Georges Berger, Paris; possibly sale, Paris, March 20, 1928, no. 53; Georges Wildenstein family collection, Paris, by 1928; [ Wildenstein and Co., New York] . B IB L IO G R A P H Y : P. de Nolhac, Hubert Robert, 1733-1808 (Paris, 1910), p. 98; Orangerie, Paris, Exposition Hubert Robert, ex. cat. (Paris, 1933), no. 2; G. Isarlo, "Hubert Robert," Connaissance des Arts no. 18 (August 15, 1953), p. 28; H. Burda, Die Ruine in den Bildern Hubert Roberts (Munich, 1967), p. 80 and n. 359; A. Corboz, Peinture militante et architecture revolutionnaire: A propos du theme du tunnel chez Hubert Robert (Basel and Stutt- gart, 1978), p. 16, fig. 13; V. Carlson, " A 182 Acquisitions/1986 Roman Masterpiece by Hubert Robert; 4 Hermit Praying in the Ruim of a Roman Temple," GettyMwJtt (mi), pp. U7-124. 44. JACQUES-LOUI S DAVI D French, 1748-1825 The Sisters Znade and Charlotte Bonaparte, 1821 Oi l on panel, 129,5 x 100 cm (51" x 39W) . Signed and dated; L . DAVID, / BRUK, 18 2 1 at the lower right, Inscribed; H 9 13. / Philadelphie . , . / mes chres petites amies, , , / Julie, , , on the letter held by sitters, 86.PA740 Zna de (1801-1854) and Charlotte (1802-1839) were daughters of Joseph Bonaparte, brother of Napoleon. I n 1821 both lived wi t h their mother i n Brussels, also the home i n exile of Jacques-Louis David, while their fatherwho wrote the letter seen i n Znade' s hand i n the Museum's paint- inghad taken up residence i n Borden- t own, New Jersey, and Philadelphia, The high quality and substantial penti- menti of this l i t t l e-known portrait, as wel l as the presence of both the signa- ture and the 1821 date, indicate that it is the original version documented i n David's June 25,1821, receipt for pay- ment from the girls' mother. The t wo replicas also mentioned i n the receipt (costing one thousand francs each, as opposed to four thousand for the ori gi - nal) can be identified wi t h the portraits i n Toulon (Muse d' Art et d' Archolo- gie, signed and dated 1822) and Rome (Museo Napoleonico, unsigned), each of whi ch has at times been called the ori gi nal The L iste des Tableaux de la galerie de Joseph Bonaparte (undated but apparently compiled i n the US. ) mentions under No, 116 "Les Princesses Zna de et Charlotte, David," valued at four thousand francs, the price of the original version (Bertin, 1893). The painting returned to Europe wi t h Bonaparte i n 1836, P R O V E N A N C E ; Commissioned by Marie Julie Bonaparte, comtesse de Survilliers, perhaps on behalf of her husband, Joseph, presum- ably i n 1820 or 1821; their daughter Zna de, Princess of Canino (1801-1854); her daughter Julie Charlotte Zna de Pauline Laetitia 44 45 Paintings 183 Desiree Bartholomee Bonaparte (1830-1900), wife of Alcssandro del Gallo, Marchese di Roccagiovane, Rome; private collection, Switzerland, by about 1938; [Wildenstein and Co,, New York] , B IB L IO G R A P H Y ; G, Bertin, Joseph Bonaparte en Amerique (Paris, 1893), p. 418; D. and G. Wildenstein, Documents complementaires au catalogue de Voeuvre de Louis David (Paris, 1973) pp. 220, 222; Philadelphia Museum of Art, Federal Philadelphia, 1785-1825: The Athens of the Western World, ex, cat, (Phila- delphia, 1987), no. 228; G, Bazin and G, Wildenstein, catalogue raisonne of the work of J,-L, David (forthcoming). G E R M A N 45, LEO VON KLENZE German, 1784-1864 Landscape with the Castle of Massa di Carrara, 1827 Oi l on canvas, 76,9 x 101 cm (30V/ x 39-7-0 Signed; LvKle XXVll at the lower left, 86,PA,540 Leo von Klenze visited Massa near Car- rara i n September 1826 and again from late Apri l to early June 1827 On the sec- ond visit he probably made the drawing of the landscape wi t h the castle, built by the Malaspina dukes from the four- teenth through the sixteenth centuries, preserved i n his sketchbook (Mnchner Stadtmuseum, Alte Sammlung, Sketch- book 3, f. 43 recto), A second drawing, i n which he experimentally moved the castle to the right half of the composi- tion and rotated it to the right, may have been executed after his return to Muni ch (Munich, Staatliche Graphische Sammlung, inv, no. 27,713mappe 35/1). This painting remained wi t h the art- ist and subsequently his family, but a second, slightly smaller version (28 x 37 inches, location unknown) was painted for Franz Bolgiano about the same year and may be the View of Massa exhibited at the Muni ch Kunstverein i n 1828, Klenze exhibited the Museum's land- scape at the Berlin Academy i n 1834 (no, 361). P R O VEN A N C E; By descent from the artist to Herbert M. von Klenze (b, 1907), Ellenberg, Germany (sale, Kunsthaus Lempertz, Cologne, November 21-23, 1985, lot 479) bought by [ Bruno Meissner, Zurich] , 46 B IB L IO G R A P H Y ; G, K, Nagler, Neues allge- meines Knstler-Lexikon (Munich, 1839), P- 60; Bayerische Akademie der Sch nen Knste, Leo von Klenze als Maler und Zeichner, ex. cat, (Munich, 1977), nos. G5, G30; N. I4eb and F, Hufnagel, Leo von Klenze Gemlde und Zeichnungen (Munich, 1979), pp, 101, 170, 242, no, G35, 46, FRANZ XAVER WI NTERHALTER German, 1805/06-1873 Portrait of Leoniila Frstin m Sayn-Wittgenstein-Sayn, 1843 Oi l on canvas, 142 x 212 cm (56" x 83V/ ), Signed; Winterhalter, Paris, 1843 at the center right, 86,PA,534 The Russian-born Princess Eeonilla Ivanovna Bariatinskaya (1816-1918) married Prince Ludwi g zu Sayn- Wittgenstein-Sayn i n 1843, the year this portrait was painted i n Paris, Her reclin- ing pose, reminiscent of traditional Venuses and David's Madame Recamier of 1800 (Musee du Louvre, Paris), is appropriate to the princess' status as an international beauty and hostess wi t h political interests. She had sat to Winterhalter once before, i n 1833, for an oval portrait which also features her shadowed face, contrasting black hair and opaline skin, and magnificent pearls (Wittgenstein family, on loan to the Neue Pinakothek, Munich), A third Winterhalter portrait of the princess, painted i n 1849, remains wi t h the fam- i l y The portrait is i n its original frame, made by P, Souty fils, Paris, P R O VEN A N C E; Commissioned by the sitter; by descent to Prince Alexander zu Sayn- Wittgenstein-Sayn, unti l 1985; [ Artemis, London] , B IB L IO G R A P H Y ; C, Heilmann, Neue Pinakothek Mnchen (Munich and Zurich, 1984), pp. 37, 68-69; ex, cat, forthcoming, London, National Portrait Gallery, and Paris, Grand Palais, 1987, I T A L I A N 47. I TALI AN (Naples or Avignon), mid-fourteenth century The Somatization of Saint Francis of Assisi and The Crowning of Saints 184 Acquisitions/1986 Cecilia and Valerian of Rome, circa 1330s Tempera on panel, each panel: 31.2 x 22.9 c m ( 12 5 / i 6 r / x 9") 86.PB.490 Un t i l recently this wo r k, someti mes called the Ansoui s Di pt yc h, has been at t ri but ed t o an Avi gno n pai nter and dated t o the 1360s. The figures on the r i ght -hand panel were t r adi t i onal l y i dent i fi ed as Saint Elzear de Sabran (12861323) and his wi fe, the Blessed Del phi ne de Signe ( 1284-1360) , rela- ti ons o f the counts o f Sabran. I n his article i n this Journal, however, Car l Strehlke suggests that Del phi ne may have commi ssi oned the di pt ych herself, f r o m a pai nter active i n Naples i n the 1330s, perhaps the Mast er o f the Saint Eli zabet h Stories. Moreover, the r i ght - hand panel may wel l depict the saints Ceci li a and Valeri an, whose chaste mar - riage served as the model for Elzear and Delphi ne' s relati onshi p. P R O VEN A N C E: Counts of Sabran, Chateau d'Ansouis (Vaucluse), France (possibly by descent from the Blessed Delphine de Signe [1284-1360]); by descent to the dukes of Sabran and Ponteves, Paris; [ Wildenstein and Co., New York, 1981-1986]. B IB L IO G R A P H Y : P. Girard, Saint Elzear de Sabran et la Bienheureuse Delphine de Signe (Paris, 1912), p. 6; G. Duhamelet, Saint Elzear et la Bienheureuse Delphine (Paris, 1944), pp. 17, 19; J. Dupont, "Quelques ex- emples de rapports entre le France et l'ltalie au XI V e et au XV e Siecles," Cahiers de VAsso- ciation Internationale des Etudes Francaises 8 (June 1956), p. 36; M. Laclotte and D. Thiebaut, L'ecole dAvignon (Paris, 1983), pp. 194-195, no. 24; P. Leone de Castris, Arte di Corte nella Napoli angioma (Florence, 1986), p. 428; C. B. Strehlke, " A Celebate Marriage and Franciscan Poverty Reflected i n a Neapolitan Trecento Di ptych, " GettyMusJ 15 (1987), pp. 79-96. 48. FRANCESCO SALVIATI Itali an ( Florenti ne) , 1510-1563 Portrait of a Bearded Man, circa 1550-1555 O i l on panel, 109 x 85 c m (43" x 33V 2 ") 86.PB.476 Someti mes at t ri but ed t o Br onzi no, this por t r ai t belongs mor e appropri ately t o Salviati's second Roman per i od (15501555), when one wo ul d expect t o fi nd such an arresti ng combi nat i on o f Manner i st preci si on, along wi t h the ani - mat i on and interest i n the sitter charac- teristic o f the mat ure Salvi ati . Its heavi ly r i ppled gol d frame, apparently or i gi nal t o the pi cture, does not appear t o be Florenti ne. P R O VEN A N C E: Marchese Carlo Ni ccoli ni di Camugliano, by 1904; [ Hei m Gallery, Lon- don, circa 1975]; [P. and D. Colnaghi, Ltd., London and New York, 1982]; Daniel Var- sano, Connecticut; through [ Zangri lli and Brady, New York] . B IB L IO G R A P H Y : I . H. Cheney, Francesco Sal- viati (1510-1563), unpublished Ph.D. diss., Institute of Fine Arts, New York University, 1963, pp. 421, 483, fig. 412; C. Whitfield, Dis coveries from the Cinquecento, ex. cat. (New York, P. and D. Colnaghi, Ltd., 1982), no. 7. 48 Paintings 185 49 49. LUCA FORTE Itali an ( Neapoli tan) , active circa 1625-1655 Still Life with Grapes and Other Fruit, circa 1630s? Oi l on copper, 31.4 x 26 c m ( 1 2W x l OV/ ) . Signed: Luca Forte on the wal l at the lower left. 86.PC.517 The st i l l life o f grapes, apples, pome- granates, and pears may have embl em- atic significance, but i t is j ust as l i kel y that i t si mpl y portrays the bounti es o f aut umn. The basket at the l ower left may have been used for the harvest o f frui t . Photographs taken at the t i me o f the pai nti ng' s sale i n Lo ndo n i n 1984 show the ghost o f a coat o f arms on the upper left near the corner o f the wal l . Recent cleaning demonstrated that the arms postdated the executi on o f the pai nt i ng, and i t has been i mpossi ble t o recon- struct what they l ook li ke. P R O VEN A N C E: Said to have been sold by Leonard Koetser, London; private collection, Jersey, since about 1955; sale, Sotheby's, Lon- don, December 12, 1984, lot 31, bought by [Thomas Agnew and Sons, Ltd., London] . 50. SEBASTI ANO RI CCI Itali an (Venetian), 1659-1734 Perseus Turning the Companions of Phineus to Stone, circa 17051710 O i l on canvas, 64 x 77 c m (2574" x 307 4 ") 86.PA.591 Thi s pai nt i ng can be compared closely wi t h Ricci's Battle of the Lapiths and Cen- taurs (circa 1705, Hi g h Mus eum o f Ar t , Atlanta) and his frescoes i n the Palazzo Mar ucelli -Fenzi , Florence, dated 17061707. The fi gure o f Perseus is close t o that o f the soldier i n the Death of Archimedes (Palazzo Vi dmar -Foscar i , Venice) dated circa 1705 by A. Ri zzi (Sebastiano Ricci disegnatore, ex. cat. [ Udi ne, Salla Ai ace del Co mmune] , 1975). The subject is taken f r o m Ovi d' s Metamorphoses (5.1235). I n the mi dst o f celebrati ng his weddi ng to Andr omeda, Perseus is attacked by Phi neusthe bride's uncle and her erst whi le i nt ended assisted by a thousand supporters. The t ur ni ng poi nt i n the lopsi ded battle is the moment depicted here, when Per- seus fi nally displays the head o f Medusa and petrifies three o f Phi neus' hench- men (Thescelus, Ampyx, and Ni l eus) . P R O VEN A N C E: Ray Livingston Murphy (1923-1953), New York (probably acquired in England); Ray Slater Murphy, mother of R. L. Murphy (sale, Christie's, New York, January 15, 1986, lot ll3, bought by [Thomas Agnew and Sons, Ltd., London] ). 50 186 Acquisitions/1986 5k 5ib Paintings 187 51. LUGA CARLEVARIJS Italian (Venetian), 1663-1730 Regatta on the Grand Canal in Honor of Frederick IV, King of Denmark, 1711 Oi l on canvas, 1349 x 2597 cm (5378" x 10274'% Inscribed: MDCCXl/L.C. at the bottom center on the boat 86,PA,599 The Bucintoro Departing from the Bacino di San Marco, 1710 Oi l on canvas, 1347 x 2593 cm (537ie" x 1027/), Inscribed: LC MDCCX at the lower left on the stern of the boat 86,PA,600 The Bucintoro (Venetian state barge) is shown on the day of the "SposalMo del mare" (Marriage of Venice and the sea), an annual Ascension Day ceremony The regatta i n honor of Frederick I V was held March 4, 1709, on the occasion of the Danish king's state visit to Ven- ice. A second version of this painting, wi t h minor differences, is i n Fredericks- borg castle, Denmark (inv, no, 3456), P R O VEN A N C E: Baron Michele Lazzaroni, Paris, by 1922; Barone Edgardo Lazzaroni, Rome, by 1937 and s late as 1940; Baronessa Lazzaroni, Paris; private collection, Rome, until 1985; [Thomas Agnew and Sons, Ltd,, London], B IB L IO G R A P H Y * N, Tarchiani, Mostra delta pittum itdttdna del Seicento e del Settecento, ex, cat, (Florence, Palazzo Pitti, 1922), nos, 209, 210; F, Mauroner, Luca Cdrlevdris, 2nd ed, (Padua, 1945), pp, 59, 82, pis. 4, 5; Venetian Fighteenth-Century Pdinting, ex, cat, (London, Thomas Agnew and Sons, Ltd,, 1985), nos, 7, 8, 52, GIUSEPPE MARIA CRESP1 Italian (Bolognese), 1665-1747 The Blessed Bernard Tolomei Interced- ing fir the Cessation of the Plague in Siena, circa 1735 Oi l on copper, 427 x 66,6 cm ( I6 1 7i r/ ' x26 1 / / ) 86,PC,463 In his article i n this Journal, John Spike connects this recently discovered paint- ing wi t h a documented commission for two paintings for the Ovetan Abbot Corsi, The pendant representing Saint Francesca Romana Placing the Infant Christ in the Arms of Her Confessor (Merriman, no, 115) is known from workshop rep- lkas, which also exist for the Bernard Tolomei (Musee des Beaux-Arts, Nimes; Marchini collection, Rome; Gemlde- galerie der Akademie der Bildenden Knste, Vienna; Ilo Nunes-Mauri col- lection, Rome), Crespi's presentation of Tolomei as an intercessor is an innova- tion i n the iconography of the four- teenth-century Olivetan abbot, P R O VEN A N C E! Commissioned by Abbot Corsi, Florence, circa 1735; Marchese Gino Capponi, Florence, by 1767; sale, Hotel Drouot, Paris [Marcel Walter and Tabour deau, commissaires-priseurs], February 7, 1945, lot 383; private collection* Switzerland; [Piero Corsini, New York], 1985 -1986, BiBLtoGPvAPHY! G, Zanotti, Storid deWAe- cddemid Ctementind di Botognd (Bologna, 1739), vol, 2, p, 64; L, Crespo Pdslna Pittrice, Vitt de* pittori botognesi (Rome, 1769), vol, 3, p, 217; M. P, Merriman, Giuseppe Mdrid Cmpi (Milan, 1980), pp, 265, 271-272; J, T, Spike, Giuseppe Mdrid Crespi dnd the Emergence of Gerne Painting in ltdiy, ex. cat, (Fort Worth, Kimbell Art Museum, 1986), p, 162; idem, The Blessed Bemdrd Tolomei Interceding fir the Cessation of the Pldgue in Siena: A Rediscovered Painting by Giuseppe Maria Crespi," GettyMusJiB (1987), pp, 111-116, DRAWINGS B R I T I S H 53 (verso) 53. THOMAS GAI NSBOROUGH Br i t i sh, 1727-1788 Study of a Seated Woman (recto); Study of a Small Girl Seated on a Bank (verso), circa 17651770 Black chalk and st ump and whi t e chalk on blue paper (recto); black chalk (verso), 31.8 x 23.8 c m (12V/ x 9 3 /s") 86.GB.620 Thi s is one o f a number o f ful l -l engt h studies o f beaut i fully cost umed young wo men executed by Gai nsbor ough i n the mi d-t o-l at e 1760s. I t shows a dai nt y young wo man seated and faci ng front , a pose rare i n Gai nsborough. The costume consists o f a br oad- b r i mmed mi l kmai d' s bonnet, a shawl dr awn about the woman' s slender shoulders, and a l uxur i ant l y cascading ski rt , br oadly sketched i n black and whi t e chalks. Thi s dr awi ng descended i n the artist's fami l y t hr ough his younger daughter, Margaret , and was li t hogr aphed by his great-nephew Ri chard Lane i n 1825. P R O VEN A N C E: Mrs. Thomas Gainsborough, London; by descent to the Gainsboroughs' daughter Margaret; Sophia and Richard Lane (probably Lane sale, Christie's, London, Feb- ruary 25, 1831, lot 100); Crompton collection; Spiller collection; Dr. and Mrs. Francis Springell, Portinscale, Cumberland (sale, Sotheby's, London, June 30, 1986, lot 103). B IB L IO G R A P H Y : J. Hayes, The Drawings of Gainsborough (New Haven and London, 1971), vol. 1, nos. 32, 33, vol. 2, pis. 98, 100; J. Hayes and L. Stainton, Gainsborough Drawings, ex. cat. (Washington, D.C., National Gallery of Art ; Fort Worth, Ki mbell Ar t Museum; New Haven, Yale Center for British Art , 1983), no. 43. D U T C H Inscri bed (verso): Carracci i n penci l. 86.GA.8 Sustris' activities as overseer o f the artistic undert aki ngs at the court o f Wi l he l m V o f Bavaria i n Mun i c h i n - cluded the desi gni ng o f sculpture and decorative objects. Thi s dr awi ng, among his few sur vi vi ng designs for a decorative piece, was used as the model for one o f the t went y-fi ve etched-glass panels o f a reli quary shrine i n the Reiche Kapelle i n the Mun i c h Resi - dence. Wi t h its excepti onal refi nement o f li ne and graceful fi gure style, i t is quali t at i vely superior bot h t o another versi on i n Budapest, considered by Hei nr i c h Geissler t o be a copy (Szep- m ves zet i Museum, i nv. no. 1387; T. Gerszi, Netherlandish Drawings in the Budapest Museum [ Amst er dam, 1971], no. 259; H. Geissler, "Unbekannt e En t w r f e von Fri edri ch Sustris, " Kunstgeschichtliche Studien fr Kurt Bauch [ Muni c h- Ber l i n, 1967], p. 154), and to a copy i n D s s e l d o r f ( Kunst museum, i nv. no. FP 5280). P R O VEN A N C E: Private collection, Switzerland; [Pamela Gordon, Paris]. B IB L IO G R A P H Y : P. Gordon, Pamela Gordon Presents Old Master Drawings, ex. cat. (New York, Bob P. Haboldt, Inc., Gallery, 1985), no. 24. 54. FRI EDRI CH SUSTRIS Dut c h, circa 1540-1599 Angels Bearing the Column of the Passion, circa 1580-1590 Pen and dark b r o wn i nk and gray wash, 16.6 x 20.6 c m ( 67i 6 " x 8W). 55. JAN HARMENSZ. MULLER Dut c h, 1571-1628 Embracing Couple (Mercury and the Nymph Lara?), 1588-ci r ca 1594 Black chalk, pen and b r o wn i nk, b r o wn wash, and whi t e gouache 53 (recto) 54 55 Drawings 189 hei ght eni ng on l i ght b r o wn paper, 18. 7x217 c m ( 7 3 / 8 " x8 W' ) . Inscri bed: 145 i n b r o wn i nk at the bot t om. 86.GG.595 E. K. J. Reznicek recognizes this dr aw- i ng as the wo r k o f Mul l er , assigning i t to the per i od o f 1588 t hr ough circa 1594, when the artist practiced the Manner i st fi gure style o f the Prague pai nter Bar t ho l o m us Spranger and the flowing pen wo r k o f Cornells van Haar lem. Composi t i onal l y, the dr awi ng is qui te close t o Mul l er s engravi ng after a dr aw- i ng by Spranger, The Drunken Lot with His Daughters ( W L. Strauss, ed., The Illustrated Bartsch, vol . 4 [ for mer l y vol . 3] , Netherlandish Artists: Matham, Saenredam, Muller [ Ne w Yor k, 1980], no. 64 [ 284] ), whi c h is also domi nat ed by a muscular nude wo man shown f r om behi nd. The bur ni ng ci t y i n the back- gr ound and various other si mi lari ti es o f techni que and composi t i on occur i n the dr awi ng Lot and His Daughters i n the Graphische Samml ung, Mun i c h ( i nv. no. 1037), at t ri but ed t o van Haar l em by C. van Thi el (Katalog der Staatlichen Graphischen Sammlung Mnchen [ Ber l i n, 1973], vol . 1; W. Wegner, Die Niederln- dischen Handzeichnungen des 15.18. Jahrhunderts [ Ber l i n, 1973], vol . 1, no. 42). Judgi ng f r o m the backgr ound conflagrati on, the helmet, and what seems t o be a caduceus i n the l ower r i ght corner, the embraci ng couple mi ght wel l be i dent i fi ed as Mer c ur y and the nymph Lara, a subject also treated by Mul l er i n an engravi ng ( The Illus- trated Bartsch, vol . 4, no. 10 [ 268] ) . P R O VEN A N C E: Antoni o Morassi, Mi lan; sale, Christie's, Amsterdam, November 18, 1985, lot 10; [Richard Day, London] . B IB L IO G R A P H Y : E. K. J. Reznicek, 4 Jan Harmensz. Muller as Draughtsman: Addenda," Master Drawings 2 (1980), pp. 120-121, 131, pi. 3. 56. HENDRI CK GOLTZI US Dut ch, 1558-1617 Bust of an Angel, 1609 Black chalk and whi t e chalk hei ght eni ng, 55.6 x 39.7 c m ( 21 , 5 / i 6"xl 5 5 / 8") . Signed and dated: HG/A.1609 i n black chalk i n the r i ght mi ddl e mar gi n. 86.GB.593 Thi s dr awi ng, exempl i fyi ng Golt zi us' late, classical style, has onl y recently come t o l i ght . Its cart oonli ke scale, softly modeled flesh, and angelic subject tie i n closely wi t h his late pai nti ngs, suggesting that i t mi ght have been i nt ended as a preparatory study. No cor- respondi ng pai nt i ng, however, has been discovered. The dr awi ng is power ful l y affecting, o wi ng t o its i mpressi ve size, the i mmedi acy o f the subject, and the broad, r i ch appli cati on o f black chalk. P R O VEN A N C E: Private collection, Malm, Sweden; private collection, London; [Ars Li bri , Boston] . B IB L IO G R A P H Y : E. K.J. Reznicek, " A Survey of Recent Discoveries and of Bibliography Concerning Dutch Art , 1500-1600," i n Netherlandish Mannerism, G. Cavalli- Bjrkman, ed. (Stockholm, 1985), pp. 10-11. 57. REMBRANDT VAN RIJN Dut ch, 1606-1669 An Artist in a Studio, circa 16321633 Pen and b r o wn i nk, 20.5 x 17 c m (8Vi6" x 6 u / i 6" ) . Col l ect i on marks o f 57 56 190 Acquisitions/198 6 E. Bouverie i n the lower left corner and of an anonymous collector i n the lower right corner. 86.GA.675 Rembrandt here depicts a solitary young artist, possibly his friend and colleague Jan Lievens, holding a palette, brushes, and maulstick, and contemplating a painting i n progress. Beside the easel stands a stone on whi ch to prepare paint* Rembrandt's varied pen work describes a range of textures as wel l as the shadowy atmosphere pervading the high-ceilinged interior, The masterful manipulation of space and chiaroscuro, combined wi t h the painter's expression of intense concentration as he confronts his painting, make this one of the most powerful and original seventeenth- century images of an artist at work, P R O V E N A N C E : E, Bouverie, Del apr Abbey, near Nort hampt on; Lewis Hut h Walters; Dr, and Mrs, Francis Springeli, Portinscale, Cumberland (sale, Sotheby's, London, June 30,1986, lot 41), B I B L I O G R A P H Y : A, M. Hi n d, "Rembrandt i n His Studio/' Old Master Drawings 1 (June 1926), p. 9; O. Benesch, Rembrandt: Werk und Forschung (Vienna, 1935), p, 28; idem, Selected Drawings by Rembrandt (Oxford and London, 1947), no, 33; idem, The Drawings of Rembrandt (London, 1954), vol 2, no. 390; S. Slive, "Rembrandt's 'Self-Portrait i n a Studio,' " Burlington Magazine 106 (November 1964), p, 485, fig, 4; idem, The Drawings of Rembrandt (London, 1973), vol, 2, no. 390; I . W. L. Moerman, et al., Geschildert tot L eyden anno 162 6, ex. cat. (Leiden, Stedelijk Museum de Lakenhal, 1976), p, 26, 58. AELBERTCUYP Dutch, 1620-1691 A Milkmaid, circa 1640-1650 Black chalk, graphite, and gray wash, 12 x 14.7 cm (4%" x 5 1 Vie") 86.GG.672 It was Cuyp's practice to make separate figure studies which he later used i n his landscape paintings, often more than once. The present drawing was used i n several of his paintings of milkmaids, the most important of which is i n the Museum Boymans-van Benningen, Rotterdam. Cuyp brought this drawing to an unusually high degree of finish, lavishing particular attention on the many soft folds of the garment and the fall of sunlight over the figure, P R O V E N A N C E : L. Dupper (probably) (sale, Roos/Engelberts/Roos, Dordrecht, June 28-29, 1870, part of lot 452); Victor de Stuers, The Hague; private collection, the Netherlands; [Ars Li br i , Boston], B I B L I O G R A P H Y : Aelbert Cuyp: Original- abbildungen nach seiner vorzglichsten Gemlden und Handzeichnungen (Leipzig, 1912), pl, 12; Honderd Teekeningen naar oud hollandsche meesters (Bloemendaal, n,d,), pl, 15; Handzeichnungen alter Meister der hollnd- ischen Malerschule (Leipzig, n,d,), vol, 2, pl, 2; S, Reiss, Aelbert Cuyp (London, 1975), p, 90. 59 (verso) 59, AELBERT CUYP Dutch, 1620-1691 View of the Rhine Valley (recto); View of the Heideberger Mill near Cleves (verso), circa 1651-1652 Black chalk, graphite, and gray wash, 13,2 x 237 cm ( S V x 9 5 /ie"), Inscribed (recto): A Cuyp i n black chalk i n the lower left corner. Inscribed (verso): Coll ten Gate 196 i n graphite, 86.GG673 This drawing belongs to a sketchbook of landscapes and townscapes that Cuyp made during a trip to the region of Nijmegen and Cleves i n 1651-1652, Other examples from this sketchbook include those i n the Groninger Museum voor Stad en Lande, Groningen (inv. no. 1931-146); the British Museum, London (E.1912, inv, no, 172); and the Pondation Custodia, Collection Frits Lugt, Paris (inv. no. 5304), The draw- ings from this sketchbook are all executed i n a similar technique, Dark black chalk appears i n the foreground and the middle ground, and graphite is used i n the background; this produces an effect of atmospheric perspective. Cuyp here built up the landscape i n a succession of horizontal zones, achiev- ing a sense of expansiveness reminiscent of the work of Rembrandt and Philips Kninck, While the t own on the recto remains unidentified, the sketch on the verso shows the Heideberger Mi l l out side Cleves, Van Gelder and Jost note that i t is a continuation of a drawing i n the Musee Conde, Chantilly (inv. no, 59 (recto) Drawings 191 1085) showing the city of Cleves from the Galgenberg outside the walls, and it exemplifies Cuyp's habit of beginning a landscape on the recto of a sheet and continuing it on the verso of the preceding page, fftoV E N A N G firtB , Houthakkef, Amsterdam]; H, E, ten Gate, Almelo, the Netherlands; [C. G, Boerner, Dsseldorf]; [f t M. Light and Co,, Boston]; Charles Cunningham, Massachusetts, B I B L I O G R A P H Y : D, Hannema, Collection of H, , ten Cate (Oldenzaal, the Netherlands, 1955), no, 196, fig, 98; F. W. Robinson, One Hundred Master Drawings from New England Private Collections, ex, cat, (Hartford, Conn,, Wads worth Atheneum, 1973), no, 26 (entry by J, G, van Gelder and I , Jost); J, Giltay, Aeibert Cuyp en Zijn Pamilie, ex. cat, (Dordrechts Museum, 1977), p, 172, n, 1, under no, 70, 60, CORNELtS SAFTLEVEN Dutch, 1607-1681 An Enchanted Cellar with Animals, circa 1655-1670 Black and red chalk, gray and brown wash, and watercolor, 25,7 x 32 cm (10W x 12%"). Collection mark of Armand Sigwalt i n the lower left margin. 86,GG,17 Saftleven here combines his talents as a painter of animal drolleries and of rustic interiors, The animals engage i n various activities, including giving a concert and reading books. These are both tra- ditional themes i n Netherlandish animal painting, occurring, for example, i n the work of Jan Brueghel the Elder, Wi t h its elaborate composition and high degree of finish, this is one of the most accomplished animal drawings i n Saftleven's oeuvre, P R O V E N A N C E : Sale, Paillet/Delaroche, Paris, April 25, 1803, lot 236; Armand Sigwalt, Paris; Eugene Rodrigues, Pads (sale, Frederik Muller, Amsterdam, May 27-28,1913, lot 192); sale, Sotheby's, Amsterdam, November 15,1983, lot 247; [John Morton Morris, London], B I B L I O G R A P H Y : W, Schulz, Cornells Saftleven (Berlin, 1978), no, 353, p, 147, 61. ADRI AEN VAN DE VELDE Dutch, 1636-1672 Seated Female Nude, circa 1660-1670 Black chalk and white chalk height- ening on gray paper, 26,5 x 19,6 cm (10W x Wie") 86,GB,641 Van de Velde was among the finest Dutch figure draughtsmen of the late seventeenth century, This example derives its charm from the soft and delicate modeling of the form i n light and shadow, combined wi t h the graceful pose and contemplative expression of the young model, It is comparable to a number of other drawings by van de Velde, possibly of the same model, including a signed example i n the Louvre (R Lugt, Musie du L ouvre, Inventaire giniral des dessins des holes du Nord, Ecole hollandaise [Paris, 1931], vol, 2, no, 779) and one sold at Sotheby's, Amsterdam, May 3,1976 (lot 110), P R O V E N A N C E : C, R, Rudolf, London (sale, Sotheby's, Amsterdam, April 18,1977, lot 66); private collection, South Africa; [Richard Day, London], B I B L I O G R A P H Y : C. White, et al,, Old Master Drawings from the Collection of Mr C. R. Rudolf, ex, cat, (London, Arts Council, 1962), no, 144, 60 61 192 Acquisitions/1986 62 62. GERARDUS VAN VEEN Dut c h, circa 1620-1683 Standing Ruff (Philomachus pugnax), 1677 Black chalk, pen and b r o wn i nk, watercolor, and gouache on paper, 23. 3x27. 1 c m ( 9 3 / i 6 " x 10"/ i 6") . Si gned and dated: Gerardus Van Veenfec:/A 1611: i n the l ower left corner. 86.GG.15 Van Veen was a draught sman who for the most part pr oduced hi ghl y fi ni shed watercolors o f birds. Hi s rare drawi ngs are close i n style t o that o f his br ot her Rochus, also a natural hi st or y draughts- man ( A. van der Wi l l i gen, Les artistes de Harlem [ Haar l em and The Hague, 1870], p. 302). Thi s dr awi ng shows a species o f sandpiper named for the di st i nct i ve collar o f l ong black feathers that appears on the neck o f the male as part o f its summer plumage. I t is dr awn almost ent i rely wi t h the brush, i n a delicate and precise techni que i n whi c h each feather is delineated. Thi s is especially noticeable i n the i ntri cate patterns o f the dorsal plumage. P R O VEN A N C E: [John Mor t on Morris, London] . F L E MI S H 63. DENYS VAN ALSLOOT Flemi sh, 1570-1628 Forest Landscape with a Distant Castle, 1608 Pen and b r o wn i nk and b r o wn and blue-gray wash, 20.3 x 27.6 c m (8" x 107s"). Signed: D. ab Alsloot. S.A. Pic.: i n the b o t t o m r i ght corner. Dat ed: 1608 i n the lower left corner. 86.GA.9 Van Al sl oot developed a vari ant o f the dense forest landscape i nvent ed by Gi l l i s van Coni nxl oo, whi c h combi nes this t ype o f scene wi t h vi ews o f actual cas- tles and abbeys situated i n the envi rons o f his nati ve Brussels, especially i n the r egi on o f the forest o f Soignes. The present dr awi ng mi ght wel l represent one o f these bui ldi ngs, alt hough the site has yet t o be i dent i fi ed. The treat- ment o f foliage as delicate, lacy tufts, combi ned wi t h the deft handl i ng o f washes, create the effect o f ai ry sunli ght penet rat i ng successive glades. P R O VEN A N C E: Private collection, Paris; [Richard Day, London] . 64. PETER PAUL RUBENS Flemi sh, 1577-1640 The Adoration of the Shepherds, circa 1613-1614 Pen and b r o wn i nk, b r o wn wash, and whi t e gouache hei ght eni ng; i ndent ed for transfer, 27.9 x 18.1 c m (11" x 7Vi6"). Inscri bed: P. Rub... i n b r o wn i nk i n the l ower left corner. 86.GA.592 Thi s is one o f eleven i llust rat i ons and a t i t le page Rubens designed for a new edi t i on o f the Breviarium Romanum, publi shed by the Pl ant i n Press i n Ant wer p i n 1614. Theodor e Galle re- ceived payment for cut t i ng the plate on Apr i l 12, 1614 (Judson and van de Velde, Appendi x 3, p. 455, no. 17). The dr awi ng is among the most hi gh- l y fi ni shed i n the series, comparable i n this respect t o the Adoration of the Magi ( New Yor k, Pi erpont Mo r gan Li brary, i nv. no. 1,230) and The Resurrection of Christ ( London, Br i t i sh Museum, i nv. no. 1895.9.15.1049). The techni que is r i ch and pai nt erly i n its combi nat i on o f v i g - orous hatchi ng, war m b r o wn washes, and extensive whi t e hi ghli ght s. The composi t i on focuses on the sleeping Chr i st chi l d, who radiates hol y l i ght . Rubens' i nt er pr et at i on o f the theme o f the Ador at i on o f the Shepherds i n thi s example is notable for the beaut i ful 63 Drawings 193 effects o f noct ur nal l i ght i ng, the em- phasis upon the rustic stable i nteri or, and the i nclusi on o f the statuesque mai den balanci ng a mi l k pi tcher o n her heada fi gure that appears i n his later wor ks. P R O VEN A N C E: H. Tersmitten, Utrecht (sale, de Bary and Yver, Amsterdam, September 23, 1754 et seq., lot 43); Pieter Testas the Younger, Amsterdam (sale, de Leth, Amsterdam, March 29, 1757, lot 49); Gerard Hoet, Jr., The Hague (sale, Franken and Thol, The Hague, August 25-28, 1760, lot 243); Dionis Mui lman (sale, de Bosch, Jr., Ploos van Amstel, de Winter, Amsterdam, Apr i l 29, 1773, lot 965); Neyman collection, Amsterdam (sale, Hotel dAligre, Paris, July 8, 1776, lot 755); Armand Frederic Ernest Nogaret (sale, Langlier, Antoine, Thierry, Paris, Apr i l 6, 1807, lot 457); private collection (sale, Christie's, London, Apr i l 2, 1947, lot 47); Ludwi g Burchard, Berlin and London; private collection, Switzerland; [ Wildenstein and Co., New York] . B IB L IO G R A P H Y : M. Rooses, L'Oeuvre de P. P. Rubens (Antwerp, 1892), vol. 5, p. 60, no. 1253; E. Haverkamp-Begemann, Olieverfschetsen van Rubens, ex. cat. (Rotter- dam, Museum Boymans, 1953), p. 50, under no. 20; F. Boudouin, "De Aanbidding der Herders, een Schets van P. P. Rubens," Ant- werpen 1 (1955), p. 3, fig. 4; L. Burchard and R.-A. d'Hulst, Tekeningen van P. P. Rubens, ex. cat. (Antwerp, Rubenshuis, 1956), p. 56; idem, Rubens Drawings (Brussels, 1963), vol. 1, p. 114, under no. 68; J. R. Judson and C. van de Velde, Corpus Rubenianum Ludwig Burchard, vol. 21, Book Illustrations and Title Pages (London and Philadelphia, 1978), vol. 1, no. 21a, vol. 2, fig. 81. F R E N C H 65. FRANCOI S STELLA French, 1563-1605 View of Tivoli, circa 1587 Black chalk, traces o f red chalk, pen and b r o wn i nk, and gray and b r o wn wash, 26.9 x 41.3 c m (10W x 16V 4 "). Inscri bed: Paul Brill i n b r o wn i nk at the b o t t o m o f the mount . Collec- t i on mar k: AW (close t o Lugt 202) on the verso. 86.GG.28 Stellas bi ographer Jacques Pernetti records that the artist vi si t ed Rome i n 1576 wi t h the Jesuit priest and architect Eti enne Mart ellange (Recherches pour servir Vhistoire de Lyon [ Lyons, 1757], vol . 2, pp. 24-27). J. Vallery-Radot 64 poi nts out, however, that the correct date o f the t r i p is 15861587, based upon a gr oup o f fifteen drawi ngs i n the Musee du Louvr e ( i nv. nos. 32866-32880), all for mer l y at t ri but ed to Stella and all beari ng dates o f 1586-1587 ( "Le Sejour de Mar t ellange a Rome en 1586 et 1587 et ses dessins de jeunesse," Revue du Louvre, 12, no. 5 [1962], pp. 205216). Recogni zi ng ten o f these drawi ngs as the wo r k o f Mar - tellange, Valler y-Radot has retained Stellas aut horshi p for four ( i nv. nos. 32866, 32867, 32869, 32873), whi c h f o r m a styli sti cally homogeneous group, all showi ng the cascades o f Ti vo l i . The Museum' s dr awi ng closely parallels the gr oup i n the Louvr e. No t onl y is i t t hemat i cally related, but i t also shows a si mi lar handl i ng consi sti ng o f br oadly appli ed washes and vari ed pen wo r k, i ncl udi ng frequent parallel hat chi ng and sinuous passages ar t i culat i ng the cavities o f the tufa stone. The Get t y 65 Mus eum and Louvr e sheets are among Stellas few k n o wn drawi ngs. P R O VEN A N C E: Probably Sir Anthony Westcombe, England; Sir Wi lli am Forbes, Bt., Scotland, and by descent (sale, Christie's, London, Apr i l 10, 1985, lot 30); [Galerie de la Scala, Paris]. B IB L IO G R A P H Y : Old Master and XlXth Century Paintings and Drawings, ex. cat. (Paris, Galerie de La Scala, November 6-29, 1985), no. 32. 194 Acquisitions/1986 66 66. NICOLAS POUSSIN French, 1594-1665 Two Girls Accompanied by Cupid, circa 1625 Pen and brown i nk and brown wash over black chalk, 145 x 12,4 cm ( 5 W x 4V) . Collection mark of Baron Mi lford on the verso. 86.GG.468 It has been suggested that the scene may represent a bride being led to her bride- groom by a putto and an attendant, while Cupid urges her on. In general stylistic terms this example is related to Poussins drawings made soon after his arrival i n Rome i n 1624 Its theme is perhaps closest, as Friedlnder and Blunt suggest, to depictions of Bacchus and Ariadne or of a classical marriage scene (Friedlnder-Blunt, vol. 3, nos, A61 [Leningrad, Hermitage, inv, no. 5076], 181,182 [Windsor, Royal Library, inv. nos. 11888 verso and 11911]), P R O VEN A N C E: Baron Milford, Richard Philipps, Pickton Castle, Pembrokeshire; by descent to Sir John Philipps; Anthony Blunt, London; private collection, Zurich; [Ars Libri, Boston], B IB L IO G R A P H Y : W, Friedlnder and A. Blunt, The Drawings of Nicolas Poussin, catalogue raisonne (London, 1974), vol. 5, p, 115, no, 444. 67 67 NICOLAS POUSSIN French, 1594-1665 The Crossing of the Red Sea, circa 1634 Red chalk, 15.5 x 22.6 cm (6W' x 87s") 86.GB.466 One of only a handful of drawings by Poussin i n red chalk that is more than a marginal notation, this scene of the Crossing of the Red Sea (Exod. 15) was made as a composition study for the painting of the same subject i n the Na- tional Gallery of Victoria, Melbourne. Its principal figure groups consist of a turbulent, fleeing crowd above and a cluster of praying women i n the lower foreground. This is among the most animated and fluent composition stud- ies i n Poussins drawings oeuvre. P R O VEN A N C E: J. Isaacs, London (sale, Sotheby's, London, February 27,1964, lot 69 [as "Italian School"]); Anthony Blunt, London; private collection, Zurich; [Ars Libri, Boston], B IB L IO G R A P H Y : W, Friedlnder and A, Blunt, The Drawings of Nicolas Poussin, catalogue raisonne (London, 1974), vol. 5, p, 66, no. 386; A, Blunt, The Drawings of Poussin (New Haven, 1979), p. 90, 68. NICOLAS POUSSIN French, 1594-1665 Study for the Triumph of Neptune and Amphitrite, circa 1635 68 Pen and brown ink, 14,6 x 20.6 cm (5 3 A" x 8VH"). Collection mark of N. Hone at the bottom right. Fragment of a letter, not by Poussin, on the verso, 86.GA.470 Depicted here are a putto at the right, two nymphs and a triton at the center, and a standing marine goddess at the left that is similar to Venus figures i n other drawings by Poussin, The putto and the group of two nymphs wi t h a triton appear i n the artist's important painting of the mid-1630s, The Birth of Venus (Philadelphia Museum of Ar t ) . P R O VEN A N C E: Nathaniel Hone, London; Anthony Blunt, London; private collection, Zurich; [Ars Libri, Boston], B IB L IO G R A P H Y : W. Friedlnder and A, Blunt, The Drawings of Nicolas Poussin (London, 1953), vol, 3, p, 34, no, 213, Drawings 195 69 69, NI COLAS POUSSIN French, 1594-1665 Votary of Bacchus, circa 1640 Pen and brown ink and brown wash, 15,7 x 13,6 cm (6 3 A 6 " x 5 5 /ir>"). Inscribed (recto): 109 i n brown ink at the top right corner and (verso) G.F.M. 86,GG469 It has been proposed that this drawing is based upon a damaged Roman cameo and thus represents a rare instance of Poussin attempting to reconstruct an antique artifact, This and a second drawing by Poussin (private collection, London) show the same running figure, except that the two carry different ob- jects (in this case a j ug and i n the other, two torches) and wear differently dis- posed animal skins. This has led to the hypothesis that these drawings repre- sent alternative "restorations" by Poussin of a carved figure on a cameo missing its hands and background. Features that suggest the cameo shape include the roughly drawn circle i n- scribing the form, and the shading, which indicates that the figure stands out i n relief from a hollowed- out surface, P R O VEN A N C E: Private collection, England (circa 1825); Anthony Blunt, London; private collection, Zurich; [ Ars Li bri , Boston] . B IB L IO G R A P H Y ; A, Blunt, "Newly Identified Drawings by Poussin and His Followers," Master Drawings 12 (1974), no. 3, pp. 243- 244; idem, "Further Newly Identified Draw- ings by Poussin and His Followers," Master Drawings 17 (1979), no, 2, pp, 139-140. 70 (recto) 70 (verso) 70. NI COLAS POUSSIN French, 1594-1665 Studies of Antiquities (recto and verso), circa 1645 Pen and brown ink and brown wash (recto); pen and brown ink; later red chalk framing lines (verso), 26,8 x 19,6 cm ( 1 0V x TVie"). Inscribed (recto): hypocrateridium, .. .pasa, and testa di hour by the brazier at top left; torques by the draped torso at the right; in villa Julia on the tripod base, middle left; putto and bulla con la trabea by the bust, bottom l e f t - all by Poussin i n brown ink. Collec- tion marks of Mori z von Fries at the upper right, the marquis de Lagoy at the lower right, and A.Ch.H. His de la Salle at the center. Inscribed; a.65 i n brown ink and 96 i n graphite on the verso of the mount, 86.GA.467 Among the various types of drawings Poussin made after the antique, this represents what Blunt calls his "an- thological" drawings, i n which the artist brought together a wide range of motifs on a single page, Here he depicts a bra- zier (top left), an Etruscan mirror (top right), a tripod dedicated to Apollo (middle row, left), the torso of a man wearing several torques (middle row, right), the bust of boy wearing a bulla (lower row, left), and a sandaled foot (lower row, right). This sheet is notable for the beautiful mise-en-page, fine line, and warm brown washes producing the effect of sunlight on stone reliefs. The verso contains drawings of a sphinx and a woman holding a water pot i n the lower half and i n the upper half a frieze composed of swags, an eagle, a ram's head, and other decorative details. P R O VEN A N C E; Count Mori z von Fries, Vi en- na; marquis de Lagoy, Ai x-en Proyence; Sir Thomas Lawrence, London; A, Ch, H, His de la Salle, Paris; Sir E. J. Poyner (sale, Sotheby's, London, Apr i l 25, 1918, lot 225, to Thomas Agnew and Sons, Ltd, ); Clark col- lection, London; [Thomas Agnew and Sons, Lt d.] ; Anthony Blunt, London; private col- lection, Zurich; [Ars Li bri , Boston] , B IB L IO G R A P H Y : A. Blunt, "Poussin et les ceremonies religieuses antiques," Revue des arts 10 (1960), p. 61; W. Friedlnder and A, Blunt, The Drawings of Mcolas Poussin, catalogue raisonne (London, 1963), vol, 4, p, 25, no. 247,1974, vol, 5, p. 41, no, 344, 196 Acquisitions/1986 71 (recto) 71 (verso) 71 NI COLAS POUSSI N French, 1594-1665 Two Studies of an Ancient Statue (recto); Scylla and a Centaur (verso), circa 1645 Pen and brown i nk and some later red chalk framing lines, 16.2 x 12.6 cm ( 6W x 4 5 /i 6 ") 86.GA.471 The recto shows two views of an unidentified Roman statue of a man i n a short toga. The verso is based upon an antique trapezophore (a type of ornate table) wi t h reliefs of centaurs, Eros, and Scylla, which was i n the Villa Madama, Rome, i n the sixteenth and seventeenth centuries and is now i n the Museo Nazionale, Naples. Both the recto and verso are characteristic copies by Poussin of the remains of ancient Rome. P R O VEN A N C E: Sale, Sotheby's, London, July 9, 1968, lot 49; Anthony Blunt, London; private collection, Zurich; [ Ars Li bri , Boston] . 72 B IB L IO G R A P H Y : W. Friedlnder and A. Blunt, The Drawings of Nicolas Poussin, catalogue raisonne (London, 1974), vol. 5, p. 42, nos. 346, 346a. 72. JACQUES STELLA French, 1596-1657 An Apple Harvest, circa 1655 Brush and varying shades of gray wash over black chalk; indented wi t h a stylus throughout; verso covered wi t h red chalk for transfer, 24.3 x 324 cm (9 9 /i 6 " x 12 3 A") 86.GG.619 Stylus indentations throughout indicate that this drawing was created as a design for a print. It is closely related to the se- ries of engravings entitled Pastorales, de- signed by Stella and executed by his niece and follower, Claudine Bouzonnet Stella, twelve years after his death. Al - though the drawing is not a preparatory study for any of the works i n Pastorales, it is not unlikely that it was made as an additional print i n the series. An es- pecially fine example of a genre drawing by Stella, it was executed almost en- tirely wi t h the brush i n delicately mod- ulated tones that lend weight to the figures and produce a lively play of sun- light and shadow. P R O VEN A N C E: Private collection, Paris; [Christopher Comer, Paris]. 73 73. HYACI NTHE RI GAUD French, 1659-1743 Portrait of a Man, circa 1710-1720 Black chalk, gray wash, and white and gray gouache heightening on blue-gray paper, 35.4 x 28 cm (14" x 11") 86.GB.612 When this drawing was sold i n Paris i n 1971, it was suggested that the sitter was the marquis de Louvois. Rigaud probably drew i t as a copy of one of his paintings, as he did of the well- known Portrait of Samuel Bernard Drawings 197 (1727, Kansas Ci t y, Mi ssour i , Nel son- At ki ns Mus eum o f Ar t ) . Such fi ni shed port rai t drawi ngs by Ri gaud are excep- t i onal l y rare. Thi s example displays a characteristically i mpressi ve pose and vi r t uoso renderi ng o f velvet, si lk, and lace. P R O VEN A N C E: Sale, Hotel Drouot, Paris, May 10, 1971, lot 26; private collection, Paris; [ Bruno de Bayser, Paris]. 74. ANTOI NE WATTEAU French, 1684-1721 The Remedy, circa 17161717 Red, black, and whi t e chalk, 23.4 x 37.1 c m ( 9 3 / i 6 " x 14W) . Inscri bed: Watteau/Etude de femme nue couchee sur un lit. Servante tenant une serigue./F. Villot i n pen and b r o wn i nk on the verso o f the mount . 86.GB.594 One o f Watteau's greatest nudes, this hi ghl y fi ni shed dr awi ng was made i n preparati on for the pai nt i ng Reclining Nude (circa 1716/17, Pasadena, No r t o n Si mon Museum) . Somewhat smaller than the dr awi ng (572" x 6 3 A"), the pai nt i ng has been cut j ust above the knees, maki ng i t i mpossi ble t o t ell whet her i t ever si mi l ar l y contai ned a mai d admi ni st er i ng a clyster. The clys- ter was an erotic subject c o mmo nl y treated by ei ght eent h-cent ury artists. I n The Remedy Watteau experi ment ed wi t h three di fferent placements o f the maid's head and di d not fi ni sh dr awi ng her ar m and shoulder, whi c h suggests that this fi gure mi ght have been i ncluded as an afterthought. The drawi ng' s mai n focus is on the magni fi cent nude, whose beauty Watteau enhanced by usi ng the trois crayons t o help create a delicate head and pearly, vol umet r i c flesh. P R O VEN A N C E: F. Vi llot , Paris; A. Dumas the Younger, Paris; A. Vollon, Paris; C. Groult, Paris; by descent to P. Bordeaux-Groult, Paris; John Gaines, Lexington, Kentucky. B IB L IO G R A P H Y : H. Adhemar and R. Huyghe, Watteau, sa vie, son oeuvre (Paris, 1950), p. 54, no. 20; K. T. Parker and J. Mathey, Antoine Watteau: Catalogue complet de son oeuvre dessine (Paris, 1957), vol. 2, no. 865; M. Cormack, The Drawings of Watteau (London, 1970), no. 114; D. Posner, "Watteau's Reclining Nude and the 'Remedy' Theme," Art Bulletin 54 (December 1972), pp. 385-388; D. Posner, Antoine Watteau (London, 1984), pp. 105-106; P. Rosenberg and M. Grasselli, Watteau, 1684-1721, ex. cat. (Washington, D C, National Gallery of Art , 1984), no. 88, p. 333, under no. 37. 75. ANTOI NE WATTEAU French, 1684-1721 Studies of Three Women, circa 1716-1717 Red, black, and whi t e chalk, 26.8 x 32.7 c m (10 9 / i 6 " x 12 7 /s") 86.GB.596 Several pai nt i ngs by Watteau cont ai n figures based on this dr awi ng. The standi ng wo man at the r i ght appears on the ar m o f a swai n i n Assembly in a Park (Paris, Musee du Louvr e) . Thi s fi gure was also engraved by J. Audr an {Figures de differents caracteres, no. 205) and by Demar t eau ( reproduced i n P. Mant z, Antoine Watteau [Paris, 1892], p. 37). The seated wo man wi t h a fan was employed for the fi gure i n the r i ght for egr ound o f bot h versions o f the Pilgrimage to 74 198 Acquisitions/1986 Cythera (Paris, Musee du Louvr e, and Ber l i n, Schloss Char l ot t enbur g) , as wel l as i n a lost pai nt i ng by Watteau k n o wn t hr ough a pr i nt by Benoi t Audr an wi t h the t i t le Bon Voyage ( reproduced i n E. Daci er and A. Vuaflart, Jean de Jullienne et les graveurs de Watteau au XVIIF siede [Paris, 1921], vol . 4, fi g. 35). The stand- i ng wo man on the left side o f the sheet appears i n an engravi ng after Watteau by Laurent Cars, Diseuse de bonne aventure. The trois crayons techni que is here used wi t h great effectiveness, wi t h the hi ghl y wo r ked central fi gure done pr edo mi - nant l y i n black chalk and the sketchier flanking pai r executed pr i mar i l y i n red. Wi t h its var yi ng poses and subtle spatial arrangement, this sheet exemplifies Watteau's abi l i t y t o uni fy a series o f unrelated i ndi vi dual studies. P R O VEN A N C E: Jules-Robert Auguste, Paris (sale, Paris, May 28, 1850, lots 101-102); Baron L. A. de Schwiter, Paris (sale, Hotel Drouot, Paris, Apr i l 20-21, 1883, lot 157, to Larroque); H. -A. Josse, Paris (sale, Galerie Georges Petit, Paris, May 28, 1894, lot 46); Jacques Doucet, Paris (sale, Paris, 1912, lot 55, to Feral); Donaldson collection, London; Walter Burns; Mort i mer L. Schiff, New York (sale, Christie's, London, June 24, 1938, lot 54, to Leggatt); Lord Wharton, Dubli n and Switzerland; heirs o f Lord Wharton, Switzerland. B IB L IO G R A P H Y : E. de Goncourt, Catalogue rais- onne de Voeuvre peint, dessine et grave d Antoine Watteau (Paris, 1875), p. 366; G. Dargenty, Antoine Watteau (Paris, 1891), p., 47; K. T. Parker, The Drawings of Antoine Watteau (London, 1931), no. 53; H. Adhemar, L'Embarquement pour Vile de Cythere, Watteau (Paris, 1947), i l l . no. 12 (no page no.); K. T. Parker and J. Mathey, Antoine Watteau: Catalogue complet de son oeuvre dessine (Paris, 1957), vol. 2, no. 606; P. Rosenberg and M. Grasselli, Watteau, 1684-1721, ex. cat. (Washington, D C, National Gallery of Ar t , 1984), pp. 386, 406. 76 76. JEAN-BAPTI STE PATER French, 1695-1736 Study of a Seated Woman, circa 1730 Red chalk on tan paper, 15.2 x 16.7 c m (6" x 6 9 / i 6 " ) . Inscri bed: JB. pater i n graphi te and 25 i n b r o wn i nk i n the lower left corner. 86.GB.613 Thi s hi t her t o unpubli shed fi gure study shows a robust young peasant wo man seated on the gr ound. I t was made as a preparatory study for Pater's pai nt i ng The Halting Place of the Troops o f circa 1730, n o w i n a pri vate collect i on, Ne w Yor k (F. Ingersoll-Smouse, Pater [Paris, 1921], no. 417, fi g. 126). The fi gure i n the pai nt i ng is shown seated i n the for egr ound among the troops, ho l d- i ng a baby. P R O VEN A N C E: Private collection, Paris; [ Bruno de Bayser, Paris]. 77 77. JEROME- MARTI N LANGLOI S French, 1778-1838 Alexander Ceding Campaspe to Apelles, 1819 Black chalk, gray wash, and whi t e gouache hei ght eni ng, 39 x 51.4 c m (15 3 / 8 " x 20V4") 86.GG.475 Langloi s made this as a presentati on dr awi ng for his pai nt i ng o f the same subject o f 1819, whi c h wo n a first-place medal i n the Salon o f 1819. The pai nt i ng is n o w i n the Galerie Muni ci pal e du Chateau de l' Eau, Toulouse. The composi t i on is closely related t o an unfi ni shed pai nt i ng o f the same subject by Langloi s' teacher, Davi d ( Li lle, Mu - see des Beaux-Ar t s) , whi c h he began ar ound 1813 and cont i nued t o wo r k on dur i ng his exile i n Brussels (18161825). Langloi s thus coul d have become f ami l - iar wi t h the project dur i ng its i ni t i al stages. The subject must have had par- ti cular significance for Davi d and for his pupi l Langloi s, since the latter port rayed the aged Davi d i n the famous por t r ai t o f 1825 (Paris, Musee du Louvr e) at wo r k on a dr awi ng for the Li l l e pai nt i ng. P R O VEN A N C E: Private collection, U.S.; [ Zangri lli , Brady and Co., Ltd., New York] . Drawings 199 78. THEODORE GERI CAULT French, 1791-1824 Sailboat on the Sea, circa 18181819 Watercolor, wash, and whi t e gouache over traces o f black chalk on tan paper, 15.3 x 24.7 c m (6" x 9 3 / / ' ) 86.GG.679 Thi s newl y discovered study for Gericault's pai nt i ng The Raft of the Medusa o f 1819 (Paris, Mus e du Louvr e) probably shows the frigate Medusa i n di ffi cul t y whi l e another ship disappears on the hor i zon. Gericault's bi ographer Cl me n t reports that the artist made a br i ef vi si t t o Le Havre i n order t o study the sky for his pai nt i ng ( C. Cl men t , Gricault: Etude biographique et critique [Paris, 1879], pp. 357-358) . I t is l i kel y that he made this and t wo other cl oud studies done i n the same techni que dur - i ng this reported t r i p (Bayonne, Mus e Bonnat , i nv. nos. N I 800, N I 801). Pos- sessing all o f its or i gi nal colori sti c strength and subtlety, this dr awi ng ranks among the most power ful o f Gericault's studies o f nature, capt uri ng its dramati c qualities t hr ough st rongly contrasti ng tonal effects. P R O VEN A N C E: Private collection, Paris; [Richard Day, London] . B IB L IO G R A P H Y : P. Grunchec, Master Drawings by Gericault, ex. cat. (New York, Pierpont Morgan Library; San Diego Museum of Art ; Houston, Museum of Fine Arts, 1985), no. 64; L. Eitner, "Review of Master Drawings by Gericault," Burlington Magazine 128 (January 1986), p. 56; H. Luthy, "Review of Master Drawings by Gericault," Master Drawings (in press). 79. THEODORE GERICAULT French, 1791-1824 The Giaour, circa 1822/23 Watercolor over penci l, 21.1 x 23.8 c m ( 8 5 / I " x 9 3 / 8 ") . Inscri bed (verso): gricault i n b r o wn i nk and le giaour i n black chalk. 86.GC.678 Amo n g Gericault's earliest and most i mpressi ve renderi ngs o f a Byr oni c theme, this hi ghl y fi ni shed watercolor illustrates Byron' s 1813 poem The Giaour. The poem is about a Chr i st i an out l aw r oami ng the Tur ki sh coasts at ni ght . Gericault's i mage reflects the descri pt i on 78 79 200 Acquisitions/1986 o f this fi gure i n the poem wi t h speci- fi ci t y o f mo o d and gesture: His brow was bent, his eye was glazed; He raised his arm, and fiercely raised, And sternly shook his hand on high, As doubting to return or fly... The wat ercolor served as a preparatory study for the Geri cault l i t hogr aph o f 1823 ( L. Del t ei l , Le Peintre-graveur illustre [Paris, 1924], vol . 18, no. 71) publi shed by the Gi haut brothers i n 1823. P R O VEN A N C E: De la Cressonniere collection, Lausanne; Hans E. Bhler collection, Winterthur (sale, Christie's, London, November 15, 1985, lot 58); [ H. Shickman Gallery, New York] . B IB L IO G R A P H Y : C. Clement, Gericault, Etude biographique et critique (Paris, 1879), no. 171 bis; L. Eitner, "Gericault's 'La Tempete'," Museum Studies 2 (1967), pp. 11, 16, n. 9; idem, C. Clement, Gericault Supplement (Paris, 1973), p. 472; P. Grunchec, Gericault: Dessins et aquarelles de chevaux (Lausanne, 1982), pp. 138139; L. Eitner, Gericault: His Life and Work (London, 1983), pp. 258, 260, 261, pi. 215, pp. 262, 359, n. I l l ; P. Grunchec, Master Drawings by Gericault, ex. cat. (New York, Pierpont Morgan Library; San Diego Mu- seum of Ar t ; Houston, Museum of Fine Arts, 1985), p. 161. 80. HENRI L E HMA N N (Karl Ernest Rudolphe Heinrich Salem) French, 1814-1882 Lamentation at the Foot of the Cross, 1847 Black and whi t e chalk, graphite, and gray wash on dark tan paper, 42.8 x 29.2 c m (167s" x V2"). Signed and dated: Henri Lehmann.1847. i n black chalk i n the l ower left corner. 86.GB.474 Lehmann produced this hi ghl y fi ni shed dr awi ng i n preparati on for his pai nt i ng o f 1847 i n the chapel o f the Compas- si on, church o f Sai nt-Loui s-en-lTle, Paris. Thi s was part o f an i mpor t ant commi ssi on that i ncluded t wo further pai nt i ngs for the same church, the Assumption (1849) and the Virgin Presents the Child Jesus (1850). Lehmann also exhi bi t ed the pai nt i ng o f The Virgin at the Foot of the Cross i n the Salon o f 1848. I n addi t i on t o numerous i ndi vi dual fi gure and drapery studies, he di d at least t wo elaborate drawi ngs o f the composi t i on as a whol e, that i n the Get t y Mus eum and one i n a pri vate collect i on i n Paris made at an earlier stage i n the evol ut i on o f the composi - t i on ( Aub r un [1984] no. D.287). Bet ween the Paris and Get t y drawi ngs, Lehmann made a number o f changes, retai ned i n the fi nal pai nt i ng. The most i mpor t ant o f these is the delet i on o f backgr ound figures i n favor o f the deserted barren landscape, whi c h heightens the emot i onal desolati on o f the scene. P R O VEN A N C E: Descendants of the artist; private collection, Paris; Mari o Amaya, New York; Frederick J. Cummings, Detroit; [ Zangri lli , Brady and Co., Ltd., New York] . B IB L IO G R A P H Y : R. Kashey and M. H. Rey- mert, Christian Imagery in French Nineteenth Century Art, 1798-1906, ex. cat. (Shepherd Gallery, New York, 1980), no. 86; J. Foucart and L.-A. Prat, "Quelques oeuvres inedites d'Henri Lehmann (18141882) au Louvre et au Musee d'Orsay," La revue du Louvre et des musees de France 33 (1983) no. 1, p. 23, n. 12; M. M. Aubrun, Henri Lehmann, 1814-1882: Portraits et decors Parisiens, ex. cat. (Paris, Mu- see Carnavalet, 1983), p. 75, under no. 81; idem, Henri Lehmann, 18141882: Catalogue raisonne de Voeuvre (Nantes, 1984), vol. 1, no. D288, p. 113. 81. EUGENE DELACROI X French, 1798-1863 The Education of Achilles, circa 1855-1858 Pastel on paper, 30.6 x 41.9 c m (12716" x^ / z " ) . Signed: Eug Delacroix at the b o t t o m left. 86.GG.728 Thi s large and beaut i fully preserved pastel represents Achi l l es' i nst r uct i on i n the art o f hunt i ng by the centaur Chi r o n. Del acr oi x pai nt ed this subject i n one o f the pendentives o f the Poetry cupola i n the Bi bl i ot heque du Palais Bour bon, Paris. Thi s i mpor t ant offi ci al commi ssi on, whi c h i nvol ved the decorati on o f t wo hemi cycles and five cupolas wi t h myt hol ogi cal scenes 81 80 Drawings 201 representi ng vari ous branches o f human knowledge, occupi ed Del acr oi x f r o m 1838 t o 1847. The Museum' s pastel is based on the pendenti ve pai nt i ng o f The Education of Achilles, whi c h si mi l ar l y shows the cen- taur f r o m behi nd, boundi ng for war d. The dr awi ng differs most si gni fi cantly f r o m the pai nt i ng i n its addi t i on o f the expansive landscape and cl oud- swept skypassages that hi ghl i ght Delacroi x' s br i l l i ant sense o f color and bravura handl i ng o f the pastel medi um. Lee Johnson poi nt s out the drawi ng' s close composi t i onal relat i on t o Delacroi x' s oi l pai nt i ng o f the same subject ( for mer ly i n the Alexi s Rouart collecti on) , whi c h is dated 1862 (as ci ted i n the sale catalogue, Sotheby's, Ne w Yor k, November 17, 1986, l ot 29). P R O VEN A N C E: George Sand (sale 1864); Khali l Bey (sale, Hotel Drouot, Paris, January 16, 1868, lot 22); Quincy Shaw McKean, Boston; Richard S. Davis, New York and London; John Gaines, Lexington, Kentucky (sale, Sotheby's, New York, November 17, 1986, lot 29). B IB L IO G R A P H Y : A. Moreau, E. Delacroix et son oeuvre (Paris, 1873), p. 323; A. Robaut, L'Oeuvre complete de Eugene Delacroix (Paris, 1885), p. 218, no. 841; M. Serullaz, Inventaire general des dessins ecole francaise, Eugene Delacroix (Paris, 1984), vol. 1, p. 164, under no. 305. 82 G E R M A N 82. ALBRECHT ALTDORFER Ger man, circa 1480-1538 Christ Carrying the Cross, circa 1510-1515 Pen and black i nk and gray wash over black chalk, Di am: 30.4 c m ( l l 1 5 / l 6 " ) . 86.GG.465 Thi s newl y discovered dr awi ng is r emi - niscent o f the panel Christ Carrying the Cross f r o m the Saint Flori an Alt arpi ece ( Austri a, Monast er y o f Saint Flori an) ; bot h are composed wi t h monument al , reli efli ke figures concentrated near the for egr ound. The most st r i ki ng o f these figures i n the dr awi ng is the l i vel y standi ng man on the left, who pulls at Chr i st wi t h his r i ght ar m. The i n d i vi d - ualistic, vari ed draught manshi p, encom- passing br oad outli nes, meanderi ng abstracting lines, and di st i nct i ve zigzag pen wo r k, is also found i n a gr oup o f drawi ngs by Al t dor fer i n the Uni ver si t t sbi bl i ot hek, Erlangen (F. Wi nzi nger , Albrecht Altdorfer/ Zeichnungen [ Muni c h, 1952], nos. 9699). The ci rcular for mat and planar composi t i on o f the dr awi ng indicate that i t was probably made as a design for a stained glass wi ndow. P R O VEN A N C E: G sta Stenman, Stockholm (sale, Christie's, London, December 12, 1985, lot 341, as "Circle of Wolf Huber"); [ Ars Li bri , Boston] . B IB L IO G R A P H Y : G. R. Goldner and L. Hendrix, " A New Altdorfer Drawing, " Bur- lington Magazine 129 (June 1987), no. 1011, pp. 383-387. 202 Acquisitions/1986 83a 83b 83. HANS SEBALD B EHAM Ger man, 1500-1550 A Peasant Man Holding a Jar, circa 1520 A Peasant Woman Carrying a Jug, circa 1520 Black chalk and pen and b r o wn i nk, each 10.7 x 5.8 c m ( 47i 6 " x 2 5 / i 6 ") 86.GG.477-478 These drawi ngs show a young laborer hol di ng ajar and st andi ng i n fr ont o f t wo wheels o f cheese and a hook-nosed crone wi t h a pitcher, wal ki ng for war d and poi nt i ng. Such ani mat ed depi cti ons o f peasants are characteristic o f Beham. Thi s pai r is close i n many details t o Beham' s undat ed woodcut i l l ust r at i on o f a Peasant Couple with Jugs and a Goose (R. A. Ko c h, ed., The Illustrated Bartsch, vol . 15 [ for mer l y vol . 8, pt. 2] , Early 84 (recto) German Masters: Barthel Beham and Hans Sebald Beham [ Ne w Yor k, 1978] , nos. 142-143) . P R O VEN A N C E: Robert P. Roupell; T. Straus- Negbaur (sale, Cassirer and Helbing, Berlin, November 25, 1930, lot 25); private collection (sale, Christie's, London, December 12, 1978, lot 232); private collection; [Yvonne Tan Bunzl, London] . I T A L I A N 84. LEONARDO DA VI NCI Itali an, 1452-1519 Three Sketches of a Child with a Lamb (recto); A Child with a Lamb, Head of an Old Man, and Studies of Machinery (verso), circa 15031506 Black chalk and pen and b r o wn i nk (recto and verso), 20.3 x 13.8 c m (8" x5 7 / i 6 " ) . Inscri bed (recto): jicipit liber, endaborum. assauasorda.judeo inebraicho copositfus] et a platone/ti- 84 (verso) Drawings 203 85 (recto) burtinj inlatin sermone translates] anno, arabu.dx. mse sap h ar / capi tulu pimu ingeometrice arihtmetice (p) vnyversaliaproposita: and franco.o dif. Inscri bed (verso): vedj la testa de[llo] alto vitj sella tenvto ilfermo / essapi dal caiano / il zendato invernjca[to e] stacciatovi.suso la cimatura conuarj colori / a vso dj gianbellotto.e altre opere.regie allacqa / essimilmente. sidebbe.f[a]/re.da potere.rimecter[e] / il polo.quando.fussi.ch[o] / summato / [Figura] polo, (s) rimessibile. A l l i nscri pt i ons i n pen and b r o wn i nk. 86.GG.725 Thi s dr awi ng contains elements o f a number o f the diverse aspects o f Leonardo's artistic and i ntellectual character. The pr i nci pal i mage o f the chi l d wi t h a lamb appears on the recto i n three pen-and-i nk sketches and on the verso i n another black chalk sketch. The i nfant has been alternati vely i dent i - fied as Chr i st and Saint John the Bapti st. These studies were made i n relat i on t o a lost pai nt i ng by Leonardo o f the Virgin with the Two Holy Children, no w k n o wn t hr ough at least three studi o versions ( Oxfor d, Ashmol ean Museum; Flor - ence, Uf f i zi ; Italy, pri vate collect i on) . The pose is also qui te si mi lar t o those employed i n the various cartoons and pai nt i ngs by Leonardo o f the Virgin and Child with Saint Anne. The i mage o f the chi l d and the l amb evolves on the sheet t hr ough several stages, exempl i fyi ng the spontaneously creative aspect o f Leonardo's draughtsmanshi p and his manner o f for mul at i ng i magery. Two closely related studies o f the chi l d wi t h a l amb are i n the Royal Li br ar y at Wi n d - sor Castle ( Cl ar k and Pedretti [ 1968] , nos. 12539, 12540). Leonardo's scientific and mechani cal interests are exempli fi ed by the i nscr i p- t i on i n mi r r o r wr i t i n g on the recto con- cerni ng a t wel ft h-cent ur y mat hemat i cal manuscri pt and on the verso by the sketch o f a l ami nat i ng machi ne and the accompanyi ng explanatory notes, also i n mi r r o r wr i t i ng. Hi s fasci nati on wi t h human physi ognomy is reflected i n the sketch o f the head o f an ol d man, also on the verso. P R O VEN A N C E: Probably Abbot Lui gi Cellotti, Venice; Sir Thomas Lawrence, London; probably Ki ng Wi lli am I I of Holland 85 (verso) [ Wi llem Frederik George Lodewijk, Prince of Orange], The Hague (sold 1850?); Grand Ducal collection, Schlossmuseum, Weimar (sold 1929); S. Schwartz, New York; John Gaines, Lexington, Kentucky (sale, Sotheby's, New York, November 17, 1986, lot 3). B IB L IO G R A P H Y : E. M ller, "Di e Madonna mi t den Spielenden Kindern aus der Werkstatt Leonardos," Zeitschrift fr Bildende Kunst 62 (1928-1929), pp. 221, 226; T. Borenius, "Leonardos Madonna with Children at Play," Burlington Magazine 56 (March 1930), p. 142; C. Pedretti, Studi Vinciani (Geneva, 1957), pp. 228-229; K. Clark and C. Pedretti, The Drawings of Leonardo da Vinci in the Collection of Her Majesty the Queen at Windsor Castle (London, 1968), pp. 98-99, under no. 12540; J. Wasserman, " A Rediscovered Cartoon by Leonardo da Vi nci , " Burlington Magazine 112 ( Apri l 1970), pp. 201, 203; C. Pedretti, et al., Leonardo dopo Milano. La Madonna deifusi (1501) (Florence, 1982), p. 82. 85. CESARE DA SESTO Itali an, 1477-1523 The Swooning Virgin Supported by Three Holy Women and Three Studies of Men (recto); Saint George and the Dragon (verso), circa 15101514 204 Acquisitions/1986 Pen and i nk over red chalk, 13.6 x 19 c m (5 3 /s" x 7V2"). Inscri bed (recto): Sfasimo (?) by Cesare i n b r o wn i nk on the left edge near the center. I n - scribed (verso): 23 by another hand i n b r o wn i nk i n the upper r i ght corner. 86.GA.1 The dr awi ng almost certai nly once for med part o f a n o w di smembered sketchbook, o f whi c h the largest r emai ni ng share is i n the Pi erpont Mo r gan Li brary, Ne w Yor k. Cesare, who was or i gi nal l y f r o m Mi l an , pr oba- bl y made thi s sket chbook dur i ng his stay i n Rome i n the second decade o f the si xt eent h century. The recto o f thi s dr awi ng consists o f several sensitively dr awn studies i ndi cat i ve o f his exposure t o the wo r k o f Raphael i n Rome, whi l e the verso is deri ved f r o m Leonardo da Vi nci ' s famous i nterpretati ons o f horsemen. P R O VEN A N C E: Sale, Christie's, London, December 13, 1984, lot 27; [ Ars Li bri , Boston] . 86. DOMENI CO CAMPAGNOLA Itali an, circa 1500-1552 Saint Christopher, circa 15201525 Pen and b r o wn i nk, 33.3 x 23 c m (13V 8 " x 9Vi6"). Inscri bed: 1 i n pen and b r o wn i n k i n the upper r i ght corner. 86.GA.691 Thi s dr awi ng o f Saint Chr i st opher car- r yi ng the Chr i st chi l d across the for d is generally si mi lar t o Titian' s fresco o f the same subject o f circa 1523 i n the Palazzo Ducale, Venice. A relati vely early dr aw- i ng by Campagnola, i t is comparable t o several others i n the same techni que whi c h have also oft en been at t ri but ed t o Ti t i an. A t ypi cal example is the study o f The Jealous Husband Murdering His Wife (Paris, Ecole des Beaux-Ar t s, i nv. no. 401). Despi te its previ ous at t r i but i on t o Ti t i an, there can n o w be l i t t l e doubt that this dr awi ng is by Campagnola. Mo nument al i n f o r m and di st i ngui shed by r i chl y ani mat ed pen strokes, i t ranks among Campagnola's greatest drawi ngs. P R O VEN A N C E: G sta Stenman, Stockholm (sale, Christie's, London, December 12, 1985, lot 295); [ Yvonne Tan Bunzl, London] . 86 B IB L IO G R A P H Y : H. Tietze, "Venetian Renais- sance Drawings i n Swedish Collections," Gazette des Beaux-Arts (March 1949), pp. 178-179 (as Titian); R. Pallucchini, Tiziano (Venice, 1969), pp. 330, 555 (as Titian). 87. IL SODOMA (Giovanni Antoni o Bazzi) Itali an, 1477-1549 The Resurrection (recto); Christ Carrying the Cross (verso), circa 1535 Pen and b r o wn i nk and whi t e gouache hei ght eni ng over black chalk on br owni sh green paper (recto); brush and b r o wn i nk and whi t e gouache hei ght eni ng (verso), 21.5x18.8 c m ( 8 7 / i 6 " x 7 W) . Col l ect i on mar k o f Al fr edo Vi ggi ano on the verso. 86.GA.2 The recto o f this dr awi ng, showi ng the Resurrecti on o f Chr i st , served as a pre- parat ory study for the fresco o f the same subject i n the Palazzo Pubbli co, Siena, 87 (recto) pai nt ed i n 1535. The pentimenti i n var i - ous places are i ndi cati ve o f Sodoma s at t empt t o establish the posi ti ons o f the arms and hands o f Chr i st , as wel l as the placement o f his feet i n relat i on t o the open t omb. The verso is executed Drawings 205 87 (verso) i n a more painterly style, wi t h the com- position focusing on the impassive image of Christset i n sharp contrast to his tormentors. The drawing broadens our knowledge of this rare draughtsman, as it exemplifies two very different yet complementary aspects of his style. P R O VEN A N C E: Alfredo Viggiano, Venice; sale, Sotheby's, New York, January 16, 1985, lot 28; [ Ars Li bri , Boston] . B IB L IO G R A P H Y : G. Goldner, " A New Draw- ing by Sodoma," Burlington Magazine 127 (November 1985), pp. 775-776. 88. FRANCESCO SALVIATI (Francesco dei Rossi) Italian, 1510-1563 Reclining Male Nude, circa 1550 Red chalk and white chalk height- ening, 27 x 39.7 cm (10W x 15 5 /s"). Inscribed (verso): di Fr. Salu...i i n light brown ink. 86.GB.574 Although not connected wi t h a surviv- ing fresco, this previously unpublished drawing might have been made as a study for one of a pair of decorative figures situated on either side of a doorway. The drawing compares i n scale, pose, and technique to a study of a reclining woman by Salviati i n the Musee du Louvre (C. Monbeig- Goguel, Vasari et son temps [Paris, 1972], no. 157). P R O VEN A N C E: Sale, Sotheby's, London, July 4, 1985, lot 15; [John Mort on Morris, London] . 89 89. SANTI DI TI TO Italian, 1536-1603 The Resurrection, circa 1568 Pen and brown ink over black chalk on blue paper, 37.6 x 25.3 cm (14 1 3 /i6" x 10"). Collection mark of Pierre Crozat(?) at the lower right. Inscribed (verso): G. Vasari, N10, and fis 15000 (?) i n graphite; and two illegible inscriptions i n graphite and brown ink. 86.GA.18 This drawing was made as a preparatory study for the painting by Santi di Ti to i n the Medici chapel of the church of Santa Croce, Florence. It appears to be an early study for the project, since there are many differences i n detail between the drawing and painting. Other drawings for this project include six preparatory studies i n the Uffi zi (inv. nos. 7687 F, 764 F, 7756 F, 7705 F, 2396 S, 2416 S), one i n the Gabinetto Nazionale delle Stampe, Rome (inv. no. EC. 130629), and one i n the Graphische Sammlung, Munich. The definitive modello is i n the Uffi zi (inv. no. 7687 F). P R O VEN A N C E: Pierre Crozat, Paris(?); private collection, Switzerland; private collection, U.S.; [Robert Dance, New York] . 90. IL MORAZZONE (Pier Francesco Mazzuchelli) Italian, 1573-1626 Angel Musicians, circa 15981599 Black chalk and brown wash and white gouache heightening on blue paper, 39.5 x 24.7 cm (15 9 A 6 " x 9 3 A"). Inscribed (verso): 164 (?) in brown ink. 86.GG.16 Nicholas Turner points out that this drawing is connected wi t h Musical Angels, One Playing a Cello, one of the four compartments depicting musical angels i n the Cappella del Rosario i n the church of San Vittore, Varese. Morazzone carried out these ceiling frescoes i n circa 15981599, soon after his return to Lombardy from Rome. The unusual format of the drawing a square wi t h a lunette shape attached to the left sideis repeated i n a slightly altered form i n two of the ceiling compartments. The angel playing the cello, the most prominent figure i n the drawing, appears i n the fresco behind another angel on the left. These and other differences between drawing and fresco have led Turner to propose that the drawing records an early stage i n the planning of one of the scenes. P R O VEN A N C E: Sale, Christie's, London, April 3, 1984, lot 10; [John Morton Morris, London]. B IB L IO G R A P H Y : N. Turner, "Some Un- published Drawings by Morazzone," Master Drawings 22 (1984), pp. 426-427. 206 Acquisitions/1986 91. AGOSTI NO CARRACCI Itali an, 1557-1602 Sheet of Studies, circa 1598-1600 Pen and b r o wn i nk, 40.5 x 30.9 c m (15 1 5 / i 6 " x 12V 8 "). Inscri bed: An.C i n penci l at the l ower left. Col l ect i on marks o f the marqui s de Lagoy, Thomas Lawrence, Thomas Di msdale, and the Duke o f Sutherland at the b o t t o m. 86.GA.726 Execut ed circa 15981600 dur i ng Agosti no' s Roman per i od, this dr awi ng contains a number o f mot i fs, i ncl udi ng the pr i nci pal fi gure gr oup o f shepherds ador i ng the Chr i st chi l d, heads o f three ol d men, a caricatured head at the right center, and naturali sti cally rendered animals. The gr oup o f shepherds was employed i n a pai nt i ng by Anni bal e Carracci , n o w k n o wn onl y t hr ough a copy, made circa 1606, by Domeni c hi no i n the Nat i onal Galler y o f Scotland, Edi nbur gh. The caricatured head at the r i ght is found i n other drawi ngs by Agost i no, i ncl udi ng one i n the Royal Li brary, Wi ndsor Castle ( i nv. no. 1928). Wi t h its decisive, l i vel y pen wo r k and subtle i nt egr at i on o f diverse forms and fi gure groups, this is among Agosti no' s most i mpressi ve drawi ngs. P R O VEN A N C E: Marquis de Lagoy, Ai x-en- Provence; Thomas Dimsdale, London; Sir Thomas Lawrence, London; Lord Francis Egerton, First Earl of Ellesmere, London; by descent to the Fifth Earl of Ellesmere, Sixth Duke of Sutherland (sale, Sotheby's, London, July 11, 1972, lot 32); John Gaines, Lexington, Kentucky (sale, Sotheby's, New York, November 17, 1986, lot 12). B IB L IO G R A P H Y : H. Bodmer, "Drawings by the Carracci: An Aesthetic Analysis," Old Master Drawings 8 (March 1934), pp. 6566; R. Wittkower, Drawings of the Carracci in the Collection of Her Majesty the Queen at Windsor Castle (London, 1952), p. 110, under no. 89, p. 121, under no. 157 [Supplement, London, 1971, p. 60, under no. 93]); D. Mahon, Mostra dei Carracci, Disegni, ex. cat. (Bologna, Pal- azzo dell'Archiginnasio, 1956), no. 71; D. Posner, Annibale Carracci: A Study in the Re- form of Italian Painting around 1590 (London, 1971), vol. 1, p. 66, vol. 2, p. 47, under no. 108; H. Brigstocke, Italian and Spanish Paint- ings in the National Gallery of Scotland ' (Glasgow, 1978), pp. 40, 42, n. 13; D. De- Grazia Bohli n, Prints and Related Drawings by the Carracci Family, ex. cat. (Washington, D C, National Gallery of Art , 1979), pp. 470, 472, 474, n. 7. 92. GI ULI O CESARE PROCACCI NI Itali an, 1574-1625 Head of a Female Figure (recto); Female Nude (verso), circa 1610 Black and whi t e chalk, 33.4 x 23.7 c m (13 3 A 6 " x 9 3 / 8 "). Inscri bed (recto): Scuola di Carraci i n pen and b r o wn i nk i n the l ower r i ght corner. I n - scribed (verso): n 20, S.B. n 131 and 92 (recto) 92 (verso) 91 Drawings 207 t wo i llegi ble i nscri pt i ons i n b r o wn i nk. 86.GB.20 Thi s dr awi ng may have been made i n preparati on for a pai nt i ng, alt hough a precise connect i on has not yet been di s- covered. The head finds numerous par- allels i n Procaccini's wo r k, such as the dr awi ng o f the Head of a Boy with Curly Hair i n the Al ber t i na, Vi enna ( i nv. no. 24.984, B. 448; V. Bi r ke, et al , Old Mas- ter Drawings from the Albertina, ex. cat. [ Washi ngt on, D. C. , Nat i onal Gallery o f Ar t , Ne w Yor k, Pi erpont Mo r gan Li brary, 1984], no. 59) and the head o f the Vi r g i n i n the altarpiece o f the Adoration of the Magi ( Mi l an, Castello Sforzesco). The nude torso o f a wo man on the verso is comparable t o the fi gure o f Venus i n the pai nt i ng Venus and Amor ( New Yor k, Di di er Aar on, Inc.) . The ext raordi nary l umi nosi t y and t ext ural subtlety seen i n this dr aw- i ng result f r om Procaccini's charac- teristic handl i ng o f the t wo chalks, usi ng black chalk for the under dr awi ng fol l owed by the li beral appli cati on o f st unni ng whi t e hi ghli ght s. P R O VEN A N C E: "Borghese Al b um" (anony- mous eighteenth-century Venetian collec- tor?); private collection, Paris; [ Bruno de Bayser, Paris]. 93. GI OVANNI BENEDETTO CASTI GLI ONE Itali an, circa 1610-1663/ 65 Pastoral Journey, circa 1650 Br ush and b r o wn o i l pai nt and touches o f whi t e, blue, and rose gouache, 28.1 x 41.3 c m ( I TA/ x 1 6V/ ) . Inscri bed (recto): Benedetto i n black chalk. Inscri bed (verso): Benedetto Castiglione and 40 x 53 i n graphi te; and Collection Denon i n blue penci l. Col l ect i on mar k o f Bar on Vi vant - Denon i n the l ower r i ght corner o f the recto. 86.GG.573 Pr i or t o its recent reappearance, this dr awi ng had been k n o wn t hr ough the l i t hogr aph by J.-B. Mauzaisse i n Monu- ments des arts du dessin chez les peuples tant anciens que modernes, vol . 3 (Paris, 1829), pi . 232 (also engraved by Charles Mace, i n C. Le Blanc, Manuel de Vamateur d'es- tampes [Paris, 1854-1890] , vol . 2, p. 583) since passing f r o m the Vi vant -Denon collect i on i n the early ni net eent h cen- tury. I t is one o f the finest o f a number o f versions o f this composi t i on by Casti gli one, whi c h i nclude the pai nt i ng o f Rebecca Led by the Servant of Abraham (?) ( Uni ver si t y o f Bi r mi ngham, England, Barber Inst i t ut e o f Fine Ar t s) and brush drawi ngs i n the Rasi ni collect i on, Mi l an ( reproduced i n A. Morassi , Disegni antichi dalla collezione Rasini in Milano [ Mi l an, 1937], pi . 49), for mer l y Benedi ct Ni col son collect i on, Lo ndo n (Percy, no. 59) and the P. de Boer collect i on, Amst er dam (Le dessin Italien dans les collections hollandaises, ex. cat. [Paris, Fondat i on Custodi a, Col l ect i on Frits Lugt , 1962] , no. 172). Percy poi nt s out that whi l e these versions repeat the central fi gure o f the wo man astride the donkey, they also cont ai n different at- tendant figures and ani mal groupi ngs, so that each provi des an i nteresti ng vari ant o f the same basic theme. P R O VEN A N C E: Baron Dominique Vivant- Denon, Paris; private collection, Paris; [ Bruno de Bayser, Paris]. B IB L IO G R A P H Y : A. Percy, Giovanni Benedetto Castiglione: Master Draughtsman of the Baroque, ex. cat. (Philadelphia Museum of Art , 1971), p. 94, under no. 59. 93 208 Acquisitions/1986 94 94. BARTOLOMEO BI SCAI NO Itali an, circa 16321657 Mystic Marriage of Saint Catherine, circa 1655 Red chalk and whi t e hei ght eni ng on yel l o w- b r o wn paper, 28.9 x 39.9 c m ( U W x l S W) . Inscri bed: Biscaino di Genova i n pen and b r o wn i n k i n the l ower r i ght corner and E and S.L. n:65 i n pen and b r o wn i nk on the verso o f the mount . 86.GB.6 Thi s dr awi ng exhi bi ts Biscaino's charac- teristic r i ch col or i sm wi t h its vi br ant effects o f texture and l i ght . Examples o f his dr aught manshi p comparable i n manner and medi um t o the Museum' s dr awi ng i nclude the Vision of Saint Augustine (Paris, Musee du Louvr e, i nv. no. 9191) and the Holy Family with Saint John the Baptist as an Infant ( Edi nbur gh, Nat i onal Galler y o f Scotland, i nv. no. D1621). Biscaino's et chi ng o f the Mystic Marriage of Saint Catherine (P. Bel l i ni , ed., The Illustrated Bartsch, vol . 47 [ for mer l y vol . 21, pt. 2] , Italian Masters of the Seventeenth Century [ Ne w Yor k, 1983] , no. 33 [198]) is related t o thi s dr awi ng onl y i n a few isolated details. P R O VEN A N C E: "Borghese Al b um" (anony- mous eighteenth-century Venetian collec- tor?); private collection, New York; [ Bob Haboldt, New York] . 95. GI OVANNI BATTISTA PI AZZETTA Itali an, 1683-1754 A Boy Holding a Pear, circa 1740 Black and whi t e chalk on blue-gray paper ( t wo j o i ned sheets), 39.2 x 30.9 c m (15 7 / i 6" x 12 3 A6") 86.GB.677 Thi s drawi ng, whi ch is among the finest and most beaut i fully preserved o f Piazzettas half-lengt h figures done i n black and whi t e chalk, is closest t o Young Woman Holding a Pear ( New Yor k, Pi erpont Mo r gan Li brary, i nv. no. i v, 89) and Giacomo Feeding a Dog ( Ar t I n - sti tute o f Chi cago, i nv. no. 1971.326). A n autograph copy o f this dr aw- i ng is i n Ber l i n (Staatliche Museen Preussischer Kult urbesi t z, Kup- fersti chkabi nett, i nv. no. Kd Z 5874). Piazzettas pai nt i ng o f a Boy with a Lemon ( Har t for d, Conn. , Wadswor t h At heneum; engraved by Mar co Pi t t eri ) shows what appears t o be the same model i n half-lengt h, wear i ng a si mi lar costume and hol di ng up a l emon i n his r i ght hand, but t ur ni ng his head t o the left. The significance o f the upheld fr ui t i n the Museum' s dr awi ng has yet t o be det ermi ned. Thi s gesture i n other wor ks by Piazzetta has been i nt erpret ed as representi ng either the sense o f taste or an erotic allusi on (J. Bean and E Stampfle, Drawings from New York Col- lections III: The Eighteenth Century in Italy [ Ne w Yor k, 1971], no. 42; A. Mar i uz, Opera completa del Piazzetta [ Mi l an, 1982] , no. 89). P R O VEN A N C E: H. A. Vivian Smith, London (sale, Christie's, London, May 20, 1955, lot 45, to Welker); sale, Christie's, London, December 12, 1985, lot 269; [John Mor t on Morris, London] . 95 96 96. CANALETTO (Antonio Canale) Itali an, 1697-1768 Warwick Castle: The East Front from the Courtyard, circa 1748 Pen and b r o wn i nk and gray wash, 31.7 x 57.1 c m (12V 2 " x 22V 2 "). Co l - lect i on mar k o f Paul Sandby i n the lower left corner o f the recto. Inscri bed: Warwick Castle Canalletti i n b r o wn i nk on the verso o f the mount . A Paris customs stamp on the verso. 86.GG.727 Thi s dr awi ng depicts the East Fr ont o f War wi ck Castle as seen f r o m inside the court yard. Its pendant, i n the Robert Lehmann collect i on, Met r opol i t an Mus eum o f Ar t , Ne w Yor k, shows the East Fr ont f r o m outsi de the court yard. Thi s is among five pai nt i ngs ( Consta- ble, nos. 443447) and five drawi ngs (Constable, nos. 756760) o f War wi c k Castle that Canaletto made for Charles Grevi lle, Ear l o f War wi ck, ar ound 17481749. Canaletto here succeeded i n conveyi ng the i mpressi ve mass and bal - ance o f the castle wallsenli vened by a sci nt i l l at i ng play o f l i ght and sha- do w across the i rregular surfaces o f the masonry. P R O VEN A N C E: Possibly the Hon. Charles Gre- ville; Paul Sandby, London; Lady Eva Dug- dale, Royal Lodge, Windsor Great Park (sale, Sotheby's, London, November 18, 1920, lot 42, wi t h pendant); [Sabin Gallery, London] ; Adrien Fauchier-Magnan, Neuilly-sur-Seine (sale, Sotheby's, London, December 4, 1935, lot 5); A. Tooth, London; Sir George Leon, Bt.; [E. V. Thaw, New York] ; John Gaines, Lexington, Kentucky (sale, Sotheby's, New York, November 17, 1986, lot 25). B IB L IO G R A P H Y : H. F. Findberg, " A Catalogue Raisonn of Canaletto's English Views," The Walpole Society 9 (1920-1921), p. 68; W G. Constable, Canaletto (Oxford, 1962), vol. 1, p. 142, vol. 2, p. 536, no. 760 (reprinted and revised by J G. Links [ Oxford, 1976], vol. 1, p. 142, vol. 2, p. 584, no. 760); J. Bean and F. Stampile, Drawings from New York Collections III: The Eighteenth Century in Italy (New York, 1971), p. 68, under no. 157; T. Pignatti, Venetian Drawings from American Collections, ex. cat. (Washington, D C, National Gallery of Art , 1974), p. 50, under no. 103; A. Bettagno, Canaletto, Disegni-Dipinti- Incisioni, ex. cat. (Fondazione Giorgio Ci ni , Venice, 1982), p. 76, under no. 105. Drawings 209 DECORATIVE ARTS C H I N E S E 97. LI DDED VASE Chi nese ( Kangxi ) , circa 16621722 Hard-paste porcelai n, H: 59.7 c m ( 1' IIV2"); Di am: 37.5 c m ( 1' 2 3 A") 86.DE.629 Porcelain objects, pai nt ed i n underglaze blue wi t h patterns o f styli zed flowers and figures i n landscapes, were manu- factured i n large quanti ti es i n Chi na dur i ng the Kan g xi dynasty (16621722) for expor t t o Europe. The wares were avi dly collected by Europeans i n the second hal f o f the seventeenth cent ury and t hr oughout the ei ghteenth and ni net eent h centuries. They were used for decorative purposes, massed on cabinets i n gr and salons or i n Porzellenkammers. P R O VEN A N C E: [Spink and Son, Ltd., London] F R E N C H 98. LENGTH OF PASSEMENTERIE French, circa 1670 Wi r e, parchment, and si lk thread, 81.9 x 18.5 x 4 c m ( 2' 8 V/ x 7W' x IV2") 86.DD.667 Thi s l engt h o f passementerie is a rare sur vi vi ng example o f the elaborately 98 (detail) wor ked fringes and t r i m that embel - li shed gr and beds o f the Baroque per i od t hr oughout Eur ope but part i cularly i n England and France. Tr i ms o f this t ype were also used t o decorate the i nt eri ors o f coaches and sedan chairs. The same craftsmen produced the fringes and tas- sels for curtains and upholstery. P R O VEN A N C E: [Juliette Niclausse, Paris]. 99. TAPESTRY, The Offering to Bacchus f r o m the Grotesques series French (Beauvais), circa 16851730 Wo o l and si lk, 289 x 201 c m (9' 5 3 / 4 " x 6' 77 4 ") 86.DD.645 The Offering to Bacchus is one o f a series o f six tapestries woven at the Beauvais Manufact or y after the cartoons o f Jean- Bap tiste Monnoyer (1636-1699). The composi t i on is i n a l i ght , open style that was ext remely popular wi t h the aristoc- racy, who were t ur ni ng away f r o m the solemn and majestic tapestries produced 99 97 Decorative Arts 211 by the royal manufactory at the Gobelins. Thi s was the fi rst tapestry series for whi c h seat upholst ery was designed and woven en suite. The backgr ound color is saffron yellow, called tabac dEspagne. P R O VEN A N C E: Rothschild collection, Vienna; (anonymous sale, Christie's, London, June 22, 1939, lot 159); (sale, Christie's, London, July 1, 1982, lot 3); [Bernheimer Fine Arts, Ltd., London, 1982]. 100. CARPET French (Beauvais), circa 17001725 Wo o l and si lk, 371.5 c m x 246.3 c m (12' 3" x 8' 1") 86.DC.633 Thi s woven carpet is at t ri but ed t o the Beauvais Manufact or y on the basis o f its style and color, part i cularly the back- gr ound color o f saffron yellow, whi c h was i nt r oduced by thi s manufact ory be- fore 1689 and k n o wn as tabac d'Espagne. One carpet o f the same desi gn and d i - mensi ons is found i n the collect i on o f the Ar t Inst i t ut e o f Chi cago, and exam- ples o f seat upholst ery i n the same style are k n o wn i n t wo pri vate collecti ons i n France. P R O VEN A N C E: Sale, Hotel Drouot, Paris, May 27, 1910, as one of four lots, (?)131-134; Thenadey collection, Paris; [Mayorcas, Ltd., London, 1985]. 101 (Terrestrial Globe) 101. CELESTI AL A N D TERRESTRIAL GLOBES French (Paris), circa 1728-1730 Pri nt er paper, papi er - mc he, gi l t bronze, and wo o d pai nt ed wi t h vernis Martin, H: 110 c m ( 3' 7 V/ ) ; Di am: 45 c m ( 1' 5V 2 ") ; Di am. o f g l o b e s : 3 2c m( l ' V 2 " ) 86.DH.705.1-2 The globes were designed and as- sembled by Jean-Ant oi ne Nol l et (1700-1770) and the maps pr i nt ed by Bal l eui l le jeune. The terrestri al globe bears a dedi cati on t o the duchesse du Mai ne (1676-1743) and the date 1728; the celestial globe bears a dedi cati on t o her nephew the comt e de Cl er mont (1709-1771) and the date 1730. The stands are pai nt ed wi t h a yel l ow vernis gr ound, pol ychr ome flowers, and red reserves wi t h chi noi seri e scenes, all pi cked out and framed wi t h gi l di ng. Nol l et was a fashionable scientist and a member o f the Academi e des Sciences. By 1758 he was named maitre en physique des enfants de France. P R O VEN A N C E: Guillaume, twelfth marquis de Bi ron; due de Talleyrand and by descent to the due de Di no Andia y Talleyrand- Perigord; [Maurice Segoura, Paris]. 100 212 Acquisitions/1986 102 103 102. COMPOUND MICROSCOPE WI TH CASE French (Paris), circa 1751 Gi l t bronze, mi r r o r glass, enamel, and shagreen. The case is o f wo o d, covered wi t h t ool ed and gi l ded leather. I t has brass closi ng fi xtures and is l i ned wi t h si lk velvet and silver braids. 48 x 28 x 20.5 c m ( 1' 67s" x 11" x 8Vi 6 ") ; case: 66 x 34.9 x 27 c m ( 2' 2" x V l V x 10 5 /s") 86.DH.694 The mechani cal parts o f the mi croscope are at t ri but ed t o Al exi s Magny (1712 after 1777). A mi croscope o f the same model i n the Musee de Nancy is i n - scribed Magny construsit et fecit Paris anno 1751. The name o f the bronzier respon- sible for the stand is un kn o wn . A drawer i n the leather case contains all the necessary attachments, such as tweezers, poi nters, interchangeable lenses, mi ca slides, and ni net eent h-cen- t ur y slides o f vari ous small specimens, labeled ailes de mouche, petal de geranium, cheveaux, and ecaille de papillon. Al exi s Magny described hi msel f as "i ngeni eur pour Thorologeri e, les i nst r u- ments de physique et de mathematiques." He li sted among his clients Loui s XV , Stanislas Leczi nski , and the scientists de Reaumur (16831757) and Duhamel du Monceau (16831757). A mi croscope o f the same model once st ood i n the cabinet d'optique o f Loui s X V at La Muet t e. ( I am grateful t o Jean-Neree Ronfor t for this i nfor mat i on. G. W.) P R O VEN A N C E: (Sotheby's, Monaco, February 23, 1986, lot 901) [ Mrs. Ki la Kugel, New York] . 103. PAIR OF BUSTS: LOUI S XV A N D MARI E LECZI NSKA French ( Lunevi lle) , circa 1755 Earthenware (faience) bust o f Loui s XV : 53 x 24 x 25 c m ( 1' 8 7 /s" x 9 7 / i 6 " x 9 7 /s"); bust o f Mar i e Leczinska: 53 x 15.5 x 25 c m ( 1' 8 7 / 8 " x 67s" x 9 7 /s") 86.DE.668 These por t r ai t busts on socles are o f a glazed earthenware k n o wn as faience. They port ray Loui s X V (1710-1774) and Mar i e Leczinska (17031768) i n t hei r pr i me as k i n g and queen o f France. The busts were pressed mol ded at the Decorative Arts 213 Lunevi l l e Manufact or y ( i n eastern France near Strasbourg), possi bly by Paul-Loui s Cyffle (1724-1806), who was a modeler wel l k n o wn for fi gur al groups. The pr oud and confi dent pose o f the ki ng was i nspi red by a bronze bust o f h i m cast i n 1751 by Jean-Baptiste Lemoyne (1669-1731). P R O VEN A N C E: [ M. Vandermeersch, Paris]. 104. FIGURE French ( Mennecy) , circa 17551760 Soft-paste porcelai n, 23.9 x 11.5 x 10.7 c m ( 9 W x 4V2 " x 4 1 / / ) . The base o f the fi gure is i nci sed wi t h DF f o r the Mennecy Manufact ory. 86.DE473 Al t ho ug h the modeler o f thi s fi gure is not kn o wn , i t can be dated wi t h some certai nty t o the 1750s, the decade when the Mennecy Manufact or y pr oduced a vari et y o f ful l -l engt h figures. I t seems that figures por t r ayi ng members o f the l ower social orders were found appeal- i ng dur i ng the Rococo per i od, as quan- ti ti es o f t hem were made by European porcelai n manufactories, based upo n engravi ngs k n o wn as the Cris de Paris after such artists as Edme Bouchar don (1698-1762). P R O VEN A N C E: Mr . and Mrs. Wi lli am Brown Meloney, Riverdale, New York; [ Antique Porcelain Company, New York] . B IB L IO G R A P H Y : B. Craven, "French Soft Paste Porcelain i n the Collection of Mr . and Mrs. Wi lli am Brown Meloney," Connoisseur 143 (May 1959), no. 577, p. 142. j _ _ j 105 105. DRAWI NG FOR A WALL LI GHT French (Paris), circa 17561783 I nk and paper, 26.5 x 17.1 c m (10 7 /i6" x 6 3 A") . The reverse o f the dr awi ng is i nscri bed Bachelier i n penci l and FA. Maglin 1902 i n i nk. Two rectangular pieces o f di f- ferent paper were glued t o the reverse, one i nscri bed Ir i n penci l and the other Th rc . Van Thulden, also i n penci l. 86.GA.692 Thi s dr awi ng is a study o f one o f a set o f wal l li ght s whi c h were hung i n the chambre d'apparat and the salon desjeux o f the Palais Royal (residence o f Loui s- Phi li ppe, due d' Orleans) after 1756, when the palace was redecorated by the architect Cont ant dTvr y (1698-1777). The wal l li ght s were executed i n gi l t bronze by the si lver smi t h Francoi s- Thomas Ger mai n (1726-1791) i n 1756. Four o f the li ght s survive, conserved, i n the Museum' s collection (81. DF. 96.1-4) . The dr awi ng is i nscri bed (S) Girandolle de dessus la Chem[inee][. . .?]/ de Jeu dans VElevation N 6. i n i nk at the lower ri ght. P R O VEN A N C E: F. A. Maglin, 1902; Francois- Gerard Seligmann, Paris. 106. BED French (Paris), circa 1760-1770 Gi l ded beechwood and moder n si lk upholstery, 174 x 264.8 x 188 c m ( 5 ' 8 1 / 2 " x8 ' 8 1 / 4 " x6 ' 2") 86.DA.535 Thi s large bed, k n o wn as a lit la Turque, was undoubt edl y made for a large chambre coucher i n a fashionable and grand hotel. I t wo ul d have been placed against the wal l , wi t h a draped baldachi n above. I t is at t ri but ed t o the menuisier Jean-Baptiste Ti l l i ar d I I (maitre 1752, di ed 1797), who madeand st ampedt wo other lits a la Turque o f si mi lar sculptural monument al i t y. P R O VEN A N C E: [Alexander and Berendt, Ltd., London] . 106 104 214 Acquisitions/1986 107 107. PAIR OF LI DDED VASES French (Sevres), circa 17681770 Soft-paste porcelai n, enameled and gi lded, wi t h gi l t -br onze mount s, 45.1x24.1x19.1 c m( l ' 5 3 A" x 9V 2 " x 7V 2 ") 86.DE.520.1-2 The li ds are i nci sed 2 and 4, and the bases 3 and 4. They were made at the Sevres Manufact or y but are apparently unrecorded i n the exi st i ng archives o f the manufactory. The bleu Fallot gr ound is covered wi t h gol d dots i n groups o f four. The reserves are pai nt ed i n gri sai lle and are support ed by babies si mi l ar l y pai nted. The vases are o f al - most uni que f o r m. One other vase o f the same model , wi t h an egg on its l i d, was at Gatchi na Palace, Leni ngr ad, i n 1914. Its present whereabouts are unkno wn. P R O VEN A N C E: [Rocheux, Paris], bought i n 1819 by Sir Harry Fetherstonhaugh, Uppark, Hampshire (I am grateful to Sir Geoffrey de Bellaigue for this information. G.W.); Alfred de Rothschild, Halton, Buck- inghamshire; Lionel de Rothschild, Exbury House, Buckinghamshire; (sale, Christie's, London, July 4, 1946, lot 90); Sir Charles Clore, London and Monaco (sale, Christie's, Monaco, December 6, 1985, lot 6). 108 108. BAROMETER French (Paris), circa 1770-1775 Oak veneered wi t h ebony; set wi t h plaques o f enameled metal; glass baromet ri cal tube; bone poi nters; gi lt -br onze mount s, 124 x 24.1 c m (4' 1" x 9V 2 ") 86.DB.632 The maker o f the barometer is un - kn o wn . Examples o f thi s early phase o f Neoclassi ci sm, k n o wn as got grec, are comparat i vely rare. The rather heavy decorative elements i n gi l t bronze, set o f f against a backgr ound o f ebony, are t ypi cal o f this style. P R O VEN A N C E: Marquis da Foz, Lisbon; (sale, Christie's, London, June 10, 1892, lot 65); Mrs. Orme Wilson (sale, Parke-Bernet Galleries, Inc., New York, March 25-26, 1949, lot 386); Madame Lucienne Fribourg (sale, Parke-Bernet Galleries, Inc., New York, Apr i l 19, 1969, lot 189); [Alexander and Berendt, Ltd., London] ; Frau Quandt, Muni ch; [Jeremy, Ltd., London] . 109. PAIR OF CANDELABRA French (Paris), circa 1785 Gi l ded and pati nated bronze; whi t e and gr i ot t e marbles, H: 82.2 c m ( 2' 8 3 / / ) ; Di am: 29.2 c m (IIV2") 86.DE521.12 The candelabra are at t ri but ed t o Pi erre- Phi li ppe Tho mi r e (1751-1843). A single candelabra o f the same model appears i n a dr awi ng i n the Musee des Ar t s Deco- ratifs, Paris, whi c h illustrates di fferent decorative proposals for a mantelpi ece wi t h firedogs, a clock, vari ous can- delabra, and ornament al bronzes. A clock o f the same model is also i n the Museum' s collect i on ( 82.DB.2) , whi l e a pai r o f brle parfums, also shown i n the dr awi ng, are on loan t o the collect i on (L.82.DF.56). Two other pairs o f can- delabra o f the same model are kn o wn , one i n the Palacio Reale, Madr i d, and the other i n the Husgeradskammaren, St ockhol m. A later pair, f r o m circa 1810, wi t h i denti cal figures but complet ely gi lded, is i n the office o f the directeur de la musique, Paris. P R O VEN A N C E: [Bernard Barouch Steinitz, Paris]. 109 Decorative Arts 215 G E R M A N no 110. BOWL Porcelain: Chi nese ( Kangxi ) , circa 1710 Painted decorati on: Ger man (Breslau), circa 1715-1720 Hard-paste porcelai n, i nci sed and pai nted i n underglaze blue; pai nt ed and gi lded, H: 7.3 c m (2 7 /s"); Di am: 14.9 c m (5 7 /s") 86.DE.738 The Chi nese b o wl is pai nt ed i n black and gol d (Schwarzlot) wi t h allegorical scenes representi ng spri ng and summer. The pai nt i ng is at t ri but ed t o the Hausmaler Ignaz Preissler (16761741) o f Breslau, an i ndependent artist who was k n o wn for his pai nt ed decorati on on bot h ori ental and European porcelai n f r om the Mei ssen and Viennese manu- factories. O n this b o wl , Preissler used the Chi nese underglaze blue diaper pat- tern on the r i m, the l ower section o f the b o wl , and the foot t o frame the scenes he added. The source o f i nspi r at i on i n this instance was the cycle o f the four seasons pai nt ed by Pierre I Mi gnar d (1612-1695) i n 1677 for the Galerie d Apo l l o n i n the Chateau de Saint- Cl oud. The plate mat chi ng this b o wl , wi t h scenes o f fall and wi nt er , is con- served i n the Musee Nat i onal de Cerami que, Sevres. P R O VEN A N C E: Octave du Sartel, Paris; (sale, Hotel Drouot, Paris, June 4-9, 1894, lot 251); Familie von Plupart(?), Berlin; (sale, Lepke, Berlin, March 18-22, 1912, lot 488); Nor d- b hmi sches Gewerbemuseum, Reichenberg (now Liberec, Czechoslovakia), 1912; private collection, Germany [ German dealer]; [Kate Foster, Ltd., London] . B IB L IO G R A P H Y : M. Cassidy-Geiger, "Two Pieces of Porcelain Decorated by Ignaz Preissler i n the J. Paul Getty Museum, " Getty MusJXS (1987), pp. 35-52. I l l 111. LEAF-SHAPED DI SH Porcelain: Ger man (Meissen), circa 1715-1720 Painted decorati on: Ger man (Breslau), circa 1715-1725 Hard-paste porcelai n, pai nt ed and gi lded, 4 x 8.3 x 11.1 c m ( l 9 / i 6 " x 3 W x 4 W) 86.DE.541 Made o f whi t e B t t g er porcelai n, the di sh is modeled after a Chi nese pr ot o- type. The pai nted and gi lded decorati on is at t ri but ed t o the Bohemi an Hausmaler Ignaz Preissler (1676-1741). P R O VEN A N C E: Dr. Marcel Nyfeller, Switzer- land (sale, Christie's, London, June 9, 1986, lot 183). B IB L IO G R A P H Y : M. Cassidy-Geiger, "Two Pieces of Porcelain Decorated by Ignaz Preissler i n the J. Paul Getty Museum, " GettyMusJ 15 (1987), pp. 35-52. 112 112. FIGURE Ger man (Meissen), circa 1720 Hard-paste porcelai n, glazed, 16.5 x 6.8 x 6.5 c m (6V2" x 2 n / i 6 " x 2 5 /s") 86.DE.542 Thi s fi gure, made o f whi t e B t t g e r por - celain, probably represents Bel t r amo di Mi l ano, one o f the stock characters o f the commedi a dell' arte. The name o f the modeler is unkno wn. P R O VEN A N C E: Dr. Marcel Nyfeller, Switzer- land (sale, Christie's, London, June 9, 1986, lot 21). 113 113. LONG-CASE CLOCK Ger man ( Ber l i n or Potsdam), circa 1755-1760 Oak, pai nted, silvered, and lac- quered; mi r r o r glass, enameled metal, and gi l t bronze, 252 x 76 x 57 c m (8' 3V 2 " x 2' 57 2 " x T IOV2") 86.DB.695 The maker o f the clock case is un - kn o wn . The clock face is signed Rehnisch, Berlin. Rehni sch is recorded as havi ng been active i n that ci t y i n the mi d-ei ght eent h century. I n style, the case o f the clock relates closely t o the wo r k o f Johann Mi chael Hoppenhaupt I I (1709-1769). He designed i nteri ors i n the robust Rococo style for Frederick the Great i n Ber l i n, Potsdam, and at Sans Souci. The case is pai nted i n faux hois, and the carved decorati on is si l - vered, overlai d wi t h yel l ow varni sh t o resemble gi l di ng. P R O VEN A N C E: Herr Michael K nig, Muni ch; [Alexander and Berendt, Ltd., London] . SCULPTURE AND WORKS OF ART 114 C E R A MI C S : I T A L I A N 114. ORAZI O FONTANA Itali an (active Ur b i no ) , 1510-1571 Basin (rinfrescatoio), circa 1561-1571 Ti n-gl azed earthenware, Di am: 46 c m (18V 8 ") 86.DE.539 Thi s basin was part o f a service t r adi - t i onal l y said t o have been commi ssi oned by Duke Gui dobal do I I della Rovere o f Ur b i n o (1538-1574). The largest gr oup f r o m this ser vi cet hi r t y-t wo objects is i n the Bargello, Florence. Or azi o Fon- tana copi ed a mi d-si xt eent h-cent ur y Ger man pr i nt i n depi ct i ng the scene o f Deucal i on and Pyr r ha ( Ov i d Meta- morphoses, 1.315415) on the basins cen- tral boss. Ar o un d this boss, the delicate grotesques on a pai nt er ly whi t e gr ound decorati ng the basins r i m and the con- cave lobes are t ypi cal o f Fontana s ce- rami c decorati on; the grotesques were i nspi red by Raphael's Vati can frescoes whi c h, i n t ur n, were i nfluenced by the anti que Do mus Aurea grottoes. Thi s basins glaze pai nt i ng and its hi ghl y dec- orati ve and plastic shape reflect the new ornate style o f the mi d-si xt eent h cen- t ury. Al t ho ug h basins o f this t ype usu- ally funct i oned as refreshment cisterns t o cool wi ne glasses and bottles at the table, this elaborately mol ded and em- belli shed wo r k probably served solely for display. P R O VEN A N C E: Baron Adolphe de Rothschild, Paris, 1870-1890; Baron Maurice de Roth- schild, Paris, 1890-1916; Duveen, New York, 1916; private collection, Stuttgart; sale, Reimann and Montasberger, Stuttgart, January 1986; [ Alai n Moatti , Paris]. 115 115. PI LGRI M FLASK Itali an (Florence), circa 15751587 Produced by the Medi c i Factory Soft-paste porcelai n, H: 28.6 c m ( l l W) . Inscri bed wi t h the dome o f Santa Mar i a del Fiore (the cathedral o f Florence) accompani ed by the letter F on the underside. 86.DE.630 Thi s flask is one o f a small but semi nal gr oup o f soft-paste porcelai n wares the earliest examples o f porcelai n i n Eur opepr oduced i n the Florent i ne Medi c i Factory ( whi ch operated be- t ween 1574 and 1587) under Francesco I de' Medi ci ' s patronage. Since these ce- rami cs often display signs o f t hei r ex- per i ment al nature, the present flask is remarkable for its excepti onally fine, wel l -for med, translucent whi t e body, decorated wi t h clear blue designs. Chi nese hi gh-fi r e ceramics were muc h sought after i n It aly f r o m the t i me o f Mar co Polo's travels t o the East i n the late t hi r t eent h century; t hei r fame and popul ar i t y further spread t hr ough the active trade bet ween Italy, Asi a, and the Near East i n subsequent centuries. Translucent Chi nese porcelai n was a parti cular favorite i n It aly par t ly because i t appeared t o combi ne characteristics o f pot t er y and glasstwo crafts mastered by Itali an artists by the late fi fteenth Sculpture and Works of Art 217 116 TUNAE SUAE QUISQUE FABER (Each man is the maker o f his o wn fortune) i n t wo cartouches on the obverse. 86.DE.533 Thi s tabletop is pai nted wi t h four elabo- rate cartouches interspersed wi t h l and- scape scenes o f bi rds and hares i n t hei r natural habitat, i nt er t wi ni ng vegetati on, and floral and fr ui t swags. The car- touchescomposed o f scrolls, shells, acanthi, and vegetal moti fsenclose Mo o r i s h and European hunt i ng scenes. The fanci ful curvi li near forms, char m- i ng pastoral scenes, and exotic depic- ti ons o f Mo o r s hunt i ng elephants and ostriches are t ypi cal o f the ei ghteenth- cent ury Rococo. Francesco Saverio I I Mar i a Grue was the last active member o f a fami l y l ong connected wi t h the manufacture o f pai nted mai oli ca at Castelli i n the Abr uzzi regi on. I n 1774 he became d i - rector o f the royal porcelai n factory at Capodi mont e, where he executed por - celain statuettes, small busts, and reliefs pai nted i n a refi ned style i nspi red by Pompei i an figures and ornament. O n mai oli ca, however, Grue pai nted mai nl y scenic landscape and genre scenes i n a loose, almost sketchy style emphasi zi ng the "r ust i c" quali t y o f the medi um. P R O VEN A N C E: Earl of Warwick, Warwick- shire; sale, Sotheby's, London, March 4, 1986, lot 24; [ Winifred Williams, London] . 117 century. Thi s flask's f o r m and its glaze embelli shment reflect the influences o f Chi nese blue-and-whi t e porcelai n, con- temporaneous mai oli ca pr oduct i on, and Tur ki sh I sni k ware. On l y about si xt y pieces o f Medi c i porcelai n are k n o wn t o have survi ved. P R O VEN A N C E: Wi lli am Spence, Florence, unt i l 1857; Alessandro Foresi, 1857; Giovanni Freppa, Florence; Eugene Piot, Paris (sale, Paris, March 19, 1860, lot 82, to Baron Alphonse de Rothschild); Baron Alphonse de Rothschild, Paris, 1860; Baron Edouard de Rothschild, Paris; Baron Guy and Marie- Helene de Rothschild, New York; [ Curarrow Corporation N. V., Curasao, Antilles] . 116. FRANCESCO SAVERIO I I MARI A GRUE Itali an, 1731-1799 Tabletop, circa 1760 Ti n-glazed earthenware, Di am: 59.5 c m (2378"). Si gned t wi ce wi t h Saverio Grue's monogr am, SG, on the horse's haunch i n the scene o f Europeans hunt i ng deer and FSG on the horse's haunch i n the scene o f Mo o r s hunt i ng ostriches. I n - scribed: FLAVA CERES TENUS SPICIS REDEMITA CAPILLOS ( Bl ond Ceres whose hai r is en- wreat hed wi t h grai n) and FOR- F U R N I T U R E : I T A L I A N 117. TABLE Itali an (Verona), late si xteenth cent ury Verona marble, 81 x 309 x 123.5 c m (317s" x 1217s" x 487s") 86.DA.489 The table's reddi sh color and i rregular, branchli ke vei ni ng are characteristic o f the rosso di Verona marble f r o m whi c h i t was made. The carved decorati on o f the support slabs, elegant i n its si mpl i ci t y and pr opor t i on, is based on late si x- teenth-century architectural mot i fs o f oval oculus (or oeil-de-boeuf) and double spiral. Car ved on either side o f the cen- t ral pilaster elements, these volutes ap- pear to flatten wi t h the wei ght o f the 218 Acquisitions/1986 heavy t op slab they support. Al t ho ug h undocument ed as t o place o f manufac- ture, i t is presumed that, because o f its mat eri al, the table was made i n Verona. P R O VEN A N C E: Baron Edmond de Rothschild, Chateau de Pregny, Switzerland, 1930s-1984; [Sameart, Ltd., Zuri ch] . 118 118. FILIPPO PELAGIO PALAGI It ali an, 1775-1860 Daybed, 1832-1835 Desi gned by Palagi and probably made by Gabri ele Capello Mapl e i nl ai d wi t h mahogany, 80 x 224 x 69 c m (31V 2 " x 88V 8 " x 27 1 /a"). O n the back o f the frame: 3421 sten- ci led i n green pai nt f r o m Racconi gi i nvent or y o f 1900 (obscured by up- holst ery) , Dazio Verificato i nk stamp, and PPR 3421 i nci sed stamp; on the frame o f the uphol - stered seat: Dazio Verificato i nk stamp and Racconigi Camera da letto degli Augusti Sposi i n penci l across the front ; on the frame structure: 37 i n i n k on part o f the label and a penci l desi gn for inlay. 86.DA.511 Thi s daybed was designed by Fi l i ppo Pelagio Palagi for Ki n g Car l o Albert o' s (17981849) Racconi gi palace (one o f the residences o f the ki ngs o f Sardinia, later ki ngs o f Italy) near Tur i n. Based upon ancient Roman and Napoleoni c prot ot ypes, the daybed f o r m probably had "i mper i al " associations for the de- signer and his pat ron. A n architect, por t r ai t painter, f ur ni - ture designer, ornamentali st, and collec- tor, Fi l i ppo Pelagio Palagi developed an interest i n archaeology after a t r i p t o Rome i n 1806. As i n the Museum' s daybed, Palagi's fur ni t ur e and or nament designs reveal his interest i n Egypt i an, Greek, Etruscan, and Roman anti qui ty, whose mot i fs he i nvent i vel y and eclec- t i cally combi ned. Thi s wo r k also shows the influence o f the Empi r e style, di s- semi nated i n It aly wi t h the i nst allat i on o f the Bonaparte courts. Gabriele Capello, k n o wn as Mo n - calvo, executed most o f Palagi's f ur ni - ture, and he pr obably made the Museum' s daybed. A n i nnovat or i n i n - lay technique, Capello devised a new met hod o f compl et i ng mor e easily and qui ckl y the many commi ssi ons for i nlay wo r k f r o m the Co ur t o f Savoy. The chi aroscuro effects o f the daybed's so- phi sti cated i nlay design are t ypi cal o f the Itali an, and mor e part i cularly the Emi l i an, t r adi t i on. P R O VEN A N C E: Made for the Racconigi palace near Turin; sale, 1922; private collection, Switzerland, 1938-1980; [ Hei m Gallery, Ltd., London, 1980-1986]. M E T A L W O R K : F R E N C H 119b 119. LEONARD LI MOUS I N French, circa 1505-1575/ 77 Allegory of Charles IX as Mars, 1573 Allegory of Catherine de'Medici as Juno, 1573 Polychrome enamel wi t h pai nt ed gol d hi ghl i ght s on copper and si l - ver (each, unframed) , 17.5 x 23 c m (6 7 /s" x 9"). Inscri bed: L L on the swor d i n the Mars plaque and dated 1573 i n the center o f the cl oud at the left; i nscri bed: L L at the b o t t o m o f the cl oud i n the b o t t o m center o f the Juno plaque; i nscri bed: C DE MEDICIS and CHARLES IX on the backs o f bot h plaques at a later date. 86.SE.536.1-.2 Li mo usi n was the foremost master o f mi d-t o-l at e si xt eent h-cent ury Li moges enamels. The Museum' s plaques are allegorical portrai ts o f Charles I X (1550-1574) as Mar s, and his mot her, Catheri ne de' Medi ci (1519-1589), as Juno. Charles is port rayed r i di ng t r i - umphant l y across the sky, beari ng the swor d and shi eld that are the attributes o f the Roman god o f war. Hi s chari ot is pulled t hr ough the clouds by wolves, animals considered sacred t o Mar s. I n the backgr ound is a war-ravaged l and- scape i n whi c h a wo man screams whi l e her house burns and a pi llager runs o f f wi t h her belongi ngs; di r ect ly above this scene, a man beats another man whi l e a t hi r d man flees. I n the second plaque, Catheri ne de' Medi ci , queen o f France as the wi fe o f Henr i I I and queen mot her o f Charles I X, is l i kened t o Juno, who, as the wi fe o f Jupi ter and mot her o f Mar s, was queen o f the heavens. She bears Juno's attri butes: the scepter, si g- ni fyi ng her queenship, and the weddi ng vei l , si gni fyi ng that she was the Roman goddess o f marri age. Her chari ot is pulled across the clouds by peacocks, bi rds sacred t o Juno. Behi nd her is a rai nbow, symbol o f peace and the per- sonal device o f Catheri ne de' Medi ci . I n the backgr ound is a peaceful, pastoral landscape. Besides bei ng general allego- ries o f the ki ng and the queen mother, i t is possible that these plaques reflect an i conography dictated by Catheri ne to celebrate t wo t r i umphs o f her pol i t i cal careerthe Peace o f Saint Ger mai n (1570) and the marri age o f Charles I X and Eli zabet h o f Aust ri a, bot h o f whi c h she helped arrange. The Museum' s plaques belong t o a gr oup o f about a dozen related wor ks by Li mousi n, all o f whi c h depict myt h- ologi cal gods or members o f the French cour t as gods. Or i gi nal l y they pr obably Sculpture and Works of Art 219 wo ul d have been i ncorporat ed i nt o a cabinet. P R O VEN A N C E: Debruge-Dumenil, 1847; Mentmore collection, 1883(?) (sale, London, May 20, 1977); Lord Astor, Hever Castle (sale, London, May 6, 1983, lot 296); [ Cyri l Humphris, London] . M E T A L W O R K : S P A N I S H 120 120. PAIR OF CANDLESTI CKS Spanish, circa 16501670 Br onze (each), H: 175 c m (68 7 /s") 86. DH. 601. 1-. 2 The base o f each wo r k bears the arms o f the counts o f Benavente, a branch o f the Pi ment el fami ly. A n approxi mat e termi- nus ante quern for the candlesticks is sug- gested by Juan de Valdes Leal's pai nt i ng In Ictu Oculi o f 1672, i n whi c h a candle- sti ck o f si mi lar sobri ety and sol emni t y t r i umphs over mor e ornate gol d and si l - ver artifacts. Li ke the pai nt i ng, the aus- tere candlesticks are reflective o f a pr ofoundl y spi ri t ual movement that swept up many o f Spain's noble patrons i n the seventeenth century. Wi t h t hei r si mple baluster forms and unadorned surfaces, the Museum' s candlesticks contrast wi t h the mor e elaborately dec- orated wor ks produced at the same t i me i n It aly and Germany, recalli ng, instead, medi eval and Renaissance precedents. P R O VEN A N C E: Commissioned by the counts of Benavente; [ Antoine Perpitch, Paris]; (sale, Christie's, London, Apr i l 24, 1986, lot 34); [Rainer Zeitz, Ltd., London] . 121 S C U L P T U R E : D U T C H 121. ADRI AEN DE VRIES Dut ch, 1545-1626 Rearing Horse, circa 16131622 Bronze, 49 x 55 c m {WW x 21 5 / 8 ") . Signed: ADRIANUS FRIES HAGUENSIS FECIT at the rear o f the base. 86.SB.488 De Vri es was Gi ambolognas most o r i g- i nal and i nfluent i al follower, and he played a key role i n di ssemi nat i ng that sculptor's late Manner i st style t hr oughout No r t her n Europe. By 1593 the artist had begun t o wo r k at the court o f Prague for Emper or Rudol ph I I , whose offi ci al cour t sculptor he be- came i n 1601. He was active unt i l his death. De Vr i es' mat ure wor ks begi n t o move away f r o m the abstract pneumat i c forms and convolut ed composi t i ons whi c h he had learned f r o m Gi ambo- logna. Instead, as i n the Rearing Horse, they exhi bi t an increasing pr o t o- Baroque interest i n mor e realistic forms, open composi t i ons, and the play o f l i ght and shadow. I n the first decade o f the seventeenth century, a number o f bronze statuettes o f reari ng horses were bei ng made by Gi ambol ogna and his wor kshop, as wel l as by his followers. By this t i me, bronze-casti ng techniques had become mor e sophisticated and the subject was techni cally easier t o accompli sh. Also, an open composi t i on wi t h forms pr o- j ect i ng i nt o space and the sense o f a "capt ured-fleet i ng-moment , " bot h o f whi c h are basic t o depi cti ons o f reari ng horses, were pr i me concerns o f early Baroque sculptors. The Museum' s Rearing Horse can be dated to circa 16131622 on the basis o f compari son wi t h de Vr i es' other equestrian statuettes. 220 Acquisitions /1986 P R O VEN A N C E: Emperor Rudolph I I , Prague; Queen Christina of Sweden; Antoine Brun, Baron d'Aspremont, 1658; Claude Ferdinand, Marquis de Brun, 1664; Agalange Ferdinand, Baron de Brun, 1716; descendants of Baron de Brun, 1746 (sale, Hotel Drouot, Paris, December 12, 1984, lot 78); [Sameart, Ltd., Zuri ch] . S C U L P T U R E : F R E N C H 122 122. JEAN-JACQUES CAFFIERI French, 1725-1792 Hope Nourishing Love, 1769 Mar bl e, H: 72 c m (28 3 /s"). I n - scribed: L'ESPERANCE NOURRIT L'AMOUR o n the fr ont o f the base and j . j . CAFFIERI. INVENTIT & SCULPSIT.1769 on the back o f the base. 86.SA.703 Jean-Jacques Caffi eri was the last and most celebrated member o f a r enowned fami l y o f sculptors. He established his fame wi t h a series o f busts executed for the Theatre Francais, and t hr oughout his career he pr oduced numer ous por - trai t bust sof i mpor t ant dead and l i v - i ng fi guresthat reflect the spi ri t o f the Enl i ght enment i n t hei r combi nat i on o f extreme reali sm wi t h psychologi cal acu- i ty. For this marble group, however, Caffi eri adopted a mor e elegant and decorative style perfectly sui ted t o his subject matter. Hope Nourishing Love is a love-and- fri endshi p allegoryan i mpor t ant sculptural genre o f mi d-ei ght eent h- cent ury France. Sculptures o f this t ype i nc l udi ng Pigalle's allegorical portrai ts o f Madame de Pompadourdi splay earthly sensuality and gentle er ot i ci sm loosely vei led by the supposed nob i l i t y o f the subjects they represent. The onl y other k n o wn versi on o f this composi - t i on is a terracotta model for the marble, n o w lost, that was exhi bi t ed at the Salon o f 1769. P R O VEN A N C E: Michel Ephrussi, Paris, by 1877; princesse de Faucigny-Lucinge, Saint Biez-en-Belin, 1935-1952; [ Wildenstein and Co., New York] . S C U L P T U R E : G E R M A N 123 123. ERNST FRI EDRI CH AUGUST RIETSCHEL Ger man, 1804-1861 Bust of Felix Mendelssohn, 1848 Mar bl e, 59.7 x 39.4 x 25.4 c m (23V2"xl5V2"xlO"). Inscribed: E. rietschel 1848 on the back. 86.SA.543 Thi s sculpture o f the composer Feli x Mendelssohn (18091847) was commi s- sioned the year after his death by the subject's fami l y for display i n t hei r home, and i t remai ned i n the fami ly' s possession unt i l i t was purchased by the Museum. Rietschel's artistic t r ai ni ng, by Chr i s- t i an Rauch, the leadi ng Neoclassical sculptor i n Germany, was rei nforced by his study o f anti que sculpture i n It aly i n 1830. He experienced great success upon his r et ur n t o Germany, recei vi ng a pr o- fessorship at the Dresden Akademi e i n 1832 and a steady stream o f major sculp- t ural commi ssi ons, i ncl udi ng those for publi c monument s dedicated t o famous Germans such as Lessing, Goethe, Schiller, and Luther. Despi te his ri gorous educati on i n the restrained Neoclassical i di o m, Ri etschel i nt r oduced elements o f nat urali sm i nt o his wor ks; the Mendelssohn bust ex- empli fi es the t ransi t i onal nature o f his style. The lower por t i on o f the bust is treated i n a Neoclassical fashi on, wi t h the shoulders and chest truncated by sharp edges above the cartouche and socle. I n contrast t o this generali zati on o f for m, Ri etschel stresses his subject's i ndi vi dual i t y i n his treatment o f the head by naturali sti cally renderi ng Mendelssohn's large forehead, ful l lips, flowing hair, and penet rat i ng gaze. P R O VEN A N C E: Mendelssohn-Bartholdy fam- ily, 1848-1986; [Sam Nystad, The Hague]. S C U L P T U R E : I T A L I A N 124 124. ANTI CO (Pier Jacopo Alar i -Bonacolsi ) Itali an ( Mant ua) , circa 1460-1528 Bust of the Young Marcus Aurelius, Sculpture and Works of Art 221 circa 1520 Bronze; eyes i nl ai d wi t h silver, 54.7 x 45 x 22.3 c m (21V 2 " x 17 3 / / x 8 3 A") 86.SB.688 Trai ned as a gol dsmi t h, Pier Jacopo Al ar i -Bonacol si became the pr i nci pal sculptor at the court o f Mant ua i n the late fi fteenth and early si xteenth cen- turies. Hi s mai n patrons were members o f the Gonzaga fami ly, i ncl udi ng the wi fe o f Francesco I Gonzaga, Isabella d'Este, for wh o m he executed a series o f bronze reducti ons and variants o f fa- mous anti que statues. I t is presumably because o f the close relat i on o f his wor ks to anti que models that the artist was ni cknamed Ant i co. The Museum' s bronze, one o f onl y seven k n o wn busts generally accepted as bei ng by Ant i co, represents the Roman emperor Mar cus Aur eli us as a young man. Ver y subtly modeled, the Young Marcus Aurelius has a less schematic, freer, and mor e nat u- ralistic renderi ng o f forms than is t o be found i n most o f the artist's other busts. It is l i kel y t o have been executed late i n Anti co' s career, at the t i me o f the emergence o f the Hi g h Renaissance style i n Italy. P R O VEN A N C E: Grimani family, Venice; An- tonio Sanquirico, Venice (since at least 1831); duchesse of Talleyrand and Sagan, Paris (of- fered for sale by her heirs through an un- known auction house i n Paris, June 1920, 1907, possibly as lot 44 or 45, unsold); Talley- rand family (sale, Sotheby's, Monaco, Febru- ary 23, 1986, lot 913); [Sameart, Ltd., Zurich] . 125 125. GI ROLAMO CAMPAGNA Itali an (Venice), 1549-1625 Infant Christ as Salvator Mundi(?), circa 1605 Bronze, H: 88 c m (347s") 86.SB.734 Campagna wo r ked chiefly i n Venice, where he was trai ned under the Tuscan- bor n Danese Cattaneo (15091573). Hi s style vari ed considerably t hr oughout his career, mo vi ng f r o m the restrained forms o f his teacher to a dramati c and expressive style whose composi t i onal sensuousness was i nspi red by the wor ks o f Alessandro Vi t t or i a and Gi ambol o- gna. By 1590 he was a leadi ng artistic fi gure i n Venice and secured commi s- sions for many major churches and scuole there, i ncl udi ng the sculpture for the hi gh altar at San Gi or gi o Maggi or e and the Al t ar e degli Or efi ci i n San Gi acomet t o di Ri alto. The i nfant Chr i st shown here is appr oxi mat ely t wo t o three ti mes larger than most Veneti an table or cabinet bronzes, suggesti ng that the piece mi ght have funct i oned o r i g- i nally as part o f an archi tectural c o m- plex, probably an altar. P R O VEN A N C E: Traditionally said to have been i n the collection of Prince Corleone, Vicenza; Arnold Seligman, Paris, circa 1900; Jacques Seligman, Paris; Jean Davray, Paris, before 1930; sale, Hotel Drouot, Paris, Apr i l 14-15, 1986, lot 90; [ Alain Moatti , Paris]. 126 126. VI NCENZO GEMI TO Itali an, 1852-1929 Medusa, 1911 Silver, parcel gi l t , Di am: 24.1 c m (9V 2 "). Inscri bed: 1911, GEMITO at the b o t t o m center o f the front. 86.SE.528 Gemi t o was the most i mpor t ant late ni net eent h-cent ury Neapoli t an sculptor. At the hei ght o f his artistic success he became seriously depressed and i n 1887 was commi t t ed to a home for the men- t ally di sturbed. He i mmedi at el y escaped and ret urned t o his o wn home, where for fourteen years he supposedly re- mai ned hi dden i n a single r oom. I n 1911 he reentered the wo r l d and cont i nued wo r k i n g actively unt i l his death i n 1929. Perhaps i nt ended as a ki n d o f apotropaic symbol , this Medusa was executed j ust as Gemi t o emerged f r o m his per i od o f seclusion. Al t ho ugh Gemi to' s wor ks generally display a vi brant , obsessive response t o the everyday reali ti esparti cularly the povert y and mi ser yo f life i n Naples, they are tempered by a search for for mal beauty based on Helleni st i c ideals and by a mastery o f craftsmanship r i val i ng that o f Renaissance artists. Al t ho ugh its composi t i on follows the design o f the Tazza Farnese, the famous Helleni st i c hardstone object i n the Museo Ar che- ologi co, Naples, Gemi to' s Medusa is hardly a si mple copy. He transformed the incised, one-sided design o f the Tazza and extended i t i nt o a three- di mensi onal object. I n doi ng so, Gemi t o stretched the t r adi t i onally neat b ound- aries between r eli ef sculpture, t wo-si ded medalli ons, and sculpture i n the r ound. The Medusa appears to be a composi t i on that was executed i n onl y one versi on, as opposed t o Gemi to' s bronzes whi c h were often cast several times. P R O VEN A N C E: L. Carl and Hazel Bean, Shriverport, Maine; sale, Skinner's Auction, no. 709, October 3, 1980, lot 617; Mrs. Piero Corsini; [Piero Corsini, New York] . PHOTOGRAPHS Not e: Li st ed here are the i ndi vi dual photographers whose wo r k was ac- qui r ed dur i ng 1986. Each photographer' s name is fol l owed by his or her nat i on- ality, life dates (or years flouri shed) , and by the number o f phot ographs acquired. Thi s li st is fol l owed by reproduct i ons o f t went y chr onol ogi cal l y arranged phot o- graphs that are hi ghl i ght s o f the year's collect i ng acti vi ty. There follows a sec- t i on on si x o f the photographers whose wo r k was acqui red i n dept h dur i ng the year, consi sti ng o f a br i ef comment ar y on each and selected reproducti ons. PHO T O GR A PHE R S ADAMS, ANSEL ( Amer i can, 1902-1984) , 11 ALI NARI BROTHERS ( Itali an, active Florence: Giuseppe, 1836-1890; Leopoldo, 1832-1865; Romual do, 1830-1891), 3 ARNDT, GERTRUDE ( Ger man, b. 1903), 1 ATGET, EUGENE (French, 1857-1927) , 2 AUERBACH, ELLEN (Studio Ringl and Pit) ( Amer i can, b. Ger many 1906), 1 BALZER, GERD ( Ger man, active 1930s, Bauhaus), 1 BARDOU, A. (active It aly 19th cent ury) , 1 BATZ, EUGEN ( Ger man, b. 1905), 1 BAYER, HERBERT ( Amer i can, b. Aust ri a, 1900-1985) , 1 BAYER-HECHT, I RENE ( Amer i can, b. 1898), 1 BEDFORD, SIR FRANCIS ( Br i t i sh, 1815/16-1894), 1 BEESE, LOTTE ( Ger man, b. 1903), 1 BISSON FRERES (French: Auguste-Rosali e, 1826-1900; Loui s-August e, 1814-1876), 1 BONFI LS (French: Feli x, 1831-1885; Lydi e, 1837-1918; Adr i en, 1861-1929), 57 ( album) BONFILS, FELIX (French, 1831-1885, active Near East), 1 BORRI , V. E FIGLIO (Italian, active Greece 1870s-1907), 3 BOTH, KATT ( German, active 1930s, Bauhaus), 1 BOURKE-WHI TE, MARGARET ( Amer i can, 1904-1971), 1 BRANCUSI , CONS TANTI N (French, b. Romani a, 1876-1957), 1 BRANDT, BI LL ( Br i t i sh, 1904-1983) , 11 BRASS AI (Gyula Halsz) ( Hungar i an, 1899-1984, active France), 13 CAMERON, HENRY HERSCHEL HAY ( Br i t i sh, 1852-1911), 15 CAMERON, JULI A MARGARET ( Br i t i sh, b. Indi a, 1815-1879), 10 CAMERON STUDI O ( H. H. H. Cameron) ( Br i t i sh, active late 19th cent ury) , 2 CLIFFORD, CHARLES ( Bri t i sh, 1819/20-1863, active Spain), 1 COLLEI N, E DMU N D ( German, b. 1906), 1 CONSTANTI N, DI MI TRI OS (Greek, active Athens 1858-1860s), 1 COPPOLA, HORACI O ( Ar gent i ni an, b. 1906), 1 DANA STUDIOS, ( Amer i can, active 1880s), 1 DEGAS, EDGAR (French, 1834-1917), 3 DEGAS, EDGAR A N D BARNES STUDI O (active France 19th cent ury) , 1 DELAMOTTE, PHILIP HENRY ( Br i t i sh, 1821-1889), 1 EAKI NS, THOMAS ( Amer i can, 1844-1916), 4 EHRLI CH, FRANZ A N D LOEW, W. M. HEI NZ ( German: Ehr l i ch, active 1920s-1930s; Loew, 1903-1981, active England) , 1 EVANS, WALKER ( Amer i can, 1903-1975) , 1 FEININGER, T[ heodore] . L UX (Lucas) ( Amer i can, b. Ger many 1910), 11 FEIST, WERNER DAVI D ( German, b. 1909), 1 FENTON, ROGER ( Br i t i sh, 1819-1869), 8 FERREZ, MARC ( Brazi li an, 1843-1923) , 165 ( album) FRI TH, FRANCIS ( Br i t i sh, 1822-1898) , 3 FUNKAT, WALTER ( Ger man, b. 1906), 1 GENTHE, ARNOLD ( Amer i can, b. Germany, 1869-1942) , 2 GOOD, FRANK MAS ON ( Br i t i sh, active Lo ndo n and Near East 1860s-1890s), 3 HAGEMEYER, J OHAN ( Amer i can, b. Hol l and, 1884-1962) , 1 HAJO, ROSE (Bauhaus, 20t h cent ury) , 1 HAWARDEN, LADY CLEMENTI NA ( Br i t i sh, 1822-1865) , 1 HENRI , FLORENCE ( Amer i can, 1895-1982, active France and Ger many) , 1 HOPKI NS, THURS TON ( Br i t i sh, b. 1913), 1 JACKSON, WI LLI AM HENRY ( Amer i can, 1843-1942), 1 JACOBI, LOTTE ( Amer i can, b. Ger many 1896), 1 KALES, ARTHUR ( Amer i can, 1882-1936) , 103 Photographs 223 KEMMLER, FLORENCE ( Amer i can, 1900-1972) , 9 KERTESZ, ANDRE ( Amer i can, b. Hungar y, 1894-1985) , 46 KORTH, FRED G. ( Amer i can, b. Germany, 1902-1983) , 21 KRULL, GERMAI NE (Polish, b. 1897, active Germany, Hol l and, and France), 64 ( book) LE GRAY, GUSTAVE (French, 1820-1882) , 2 L O N DO N STEREOSCOPIC CO. ( Br i t i sh, active 1850s-1890s Br i t ai n, Canada, and U. S.), 1 LOUGHTON, ALFRED J. ( Br i t i sh, 19th cent ury) , 1 LYNES, GEORGE PLATT ( Amer i can, 1907-1955) , 3 MA N RAY (Emmanuel Radnitsky) ( Amer i can, 1890-1976), 26 MARTI N, IRA W. ( Amer i can, active Ne w Yor k 20t h cent ury) , 5 MATHER, MARGRETHE ( Amer i can, 1885-1952), 6 MAUL L A N D POLYBANK ( Br i t i sh, active 1850s), 34 MELVI LLE, R. LESLIE ( Br i t i sh, 1835-1906) , 132 ( album) MODOTTI , TI NA (Itali an, 1896-1942, active U.S., Mexi co, and Ger many) , 7 MOFFETT STUDI O (active Chi cago circa 1913), 1 MOHOLY, LUCI A (German/Swiss, b. Bohemi a 1899), 1 MOON, KARL ( Amer i can, 1878-1948) , 8 MORAI TES (Greek: Petros, 1835-1905; Georgi os, active 1874-1900) , 5 MUCHA, GEORG ( German, b. 1895), 1 MUNKACS I , MARTI N ( Amer i can, b. Hungar y, 1896-1963) , 5 NI NCI , GIUSEPPE (Itali an, 1823-1890) , 1 PAP, GYULA ( Hungar i an, b. 1899), 1 REJLANDER, OSCAR GUSTAF ( Br i t i sh, b. Sweden, 1813-1875), 1 RICE, CHESTER ( Amer i can, active 1890s), 1 ROBI NSON, HENRY PEACH ( Br i t i sh, 1830-1901), 2 SANDER, AUGUST ( German, 1876-1964), 1 SCHNEIDER, DR. ROLAND ( Amer i can, 1884-1934) , 4 SMI TH, LEWIS ( Amer i can, active circa 1921), 1 SOMMER, FREDERICK ( Amer i can, b. Italy 1905), 1 STEICHEN, EDWARD ( Amer i can, b. Luxembour g, 1879-1973), 5 STERN, GRETE ( Ar gent i ni an, b. Ger many 1904), 1 STIEGLITZ, ALFRED ( Amer i can, 1864-1946) , 7 STORY-MASKELYNE, M. H. NEVI L ( Br i t i sh, 1823-1911), 1 STRAND, PAUL ( Amer i can, 1890-1976), 119 STRAUB, KARL ( German, active 1930s, Bauhaus), 1 STRUWE, CARL ( German, b. 1898), 10 SUDEK, JOSEF (Czech, 1896-1976), 1 SUTCLIFFE, FRANK MEADOW ( Br i t i sh, 1853-1941), 1 TABARD, MAURI CE (French, 1897-1984), 1 TALBOT, WI LLI AM HENRY FOX ( Br i t i sh, 1800-1877), 2 TEYNARD, FELIX (French, 1817-1892), 160 ( book) THAL EMANN, ELSE ( German, active 1930s), 13 THOMS ON, JOHN ( Br i t i sh, 1837-1921), 27 VALLOU-DE-VI LLENEUVE, JULI EN (French, 1795-1866), 3 WATKI NS, HERBERT ( Br i t i sh, 19th cent ury) , 4 WEEGEE (Arthur H. Fellig) ( Amer i can, b. Hungar y, 1899-1968), 11 WESTON, EDWARD ( Amer i can, 1886-1958), 833 (795 al bum photographs, i ncl udi ng about 150 o f undet er mi ned authorshi p) WESTON, EDWARD A N D MATHER, MARGRETHE ( Amer i can: Weston, 1886-1958; Mat her, 1885-1952), 2 WI LSON, GEORGE WASHI NGTON ( Br i t i sh, 1823-1893), 54 ( book) WI NOGRAND, GARRY ( Amer i can, 1928-1984), 1 WOLCOTT, MAR I ON POST ( Amer i can, b. 1910), 8 WORTLEY, COL. H. STUART ( Br i t i sh, 1832-1890), 1 224 Acquisitions/1986 S E L E CT E D A CQ U I S I T I O N S 127 127. WI L L I AM HENRY FOX TALBOT Br i t i sh, 1800-1877 Leaves of Orchidea, 1839 Phot ogeni c dr awi ng, 17.1x20.8 c m ( 6 3 / / x 8 3 A 6 ") . Inscri bed: HF Talbot photogr./April 1839. on the verso. " 86. XM. 621 P R O VEN A N C E: Robert Shapazian; [ Daniel Wolf, Inc., New York] . 128. GUSTAVE LE GRAY French, 1820-1882 Seascape with Steamboat and Three- Masted Ship, circa 1856 Al b ume n pr i nt , 30 x 41.2 c m (117s" x I6V4"). Photographer' s wet stamp i n red i n k i n the l ower r i ght corner o f the i mage; photographer' s b l i nd stamp on the mo unt at the center bel ow the i mage. 86. XM. 604. 1 P R O VEN A N C E: French private collection; Robert Hershkowitz, London; [Charles Isaacs, Philadelphia]. 129. R. LESLIE MELVI LLE Br i t i sh, 1835-1906 Going to the Portree Ball, f r o m the Mel vi l l e A l b u m o f 138 phot o- graphs (86. XA. 21. 1-137) , circa 1860s Al b ume n pr i nt , 18.5 x 23.3 c m ( 7 5 / i 6 " x 9 3 / i 6 ") . Inscri bed: Miss Willoughby, Sophy L.M., R.L.M., Jack Thorold, Applecross, Lady Mid- dleton, Going to the Portree Ball. Bingy Lawley. on the mo unt bel ow the i mage. 86.XA.21.103 P R O VEN A N C E: Heirs of R. Leslie Melville; [ Howard Ricketts, Ltd., London] . 130. FRANK MEADOW SUTCLIFFE Br i t i sh, 1853-1941 The Dock End, Whitby, 1880 Car bon pr i nt , 23.6 x 29.2 c m ( 9 5 A 6 " x V2"). Signed i n i nk at the l ower left. 86.XM.518.1 P R O VEN A N C E: European vendor; [Robert Klei n Gallery, Boston] . Photographs 225 131 131. EDGAR DEGAS A N D BARNES STUDI O French Degas: 1834-1917 Barnes Studi o: active 19th cent ury Apotheose de Degas (after Ingres' L'apotheose d'Homere), 1885 Al b ume n pr i nt , 8.2 x 9.5 c m ( 3 7 / x 3 3 / / ) 86.XM.690.4 P R O VEN A N C E: Madame Joxe-Halevy; Estate of Francois Braunschweig, Paris. 132. ALFRED STIEGLITZ Amer i can, 1864-1946 Portrait of Eva Hermann, circa 1894 Pl at i num pr i nt , 25.2 x 20.2 c m ( 9 1 5 / i 6 " x7 1 5 / i 6 " ) 86.XM.622.4 P R O VEN A N C E: Kurt Hermann; [ Daniel Wolf, Inc., New York] . 133. EUGENE ATGET French, 1857-1927 Vieille Cour, 22 rue Quincampoix, 1908 Al b ume n pr i nt , 22.2 x 17.7 c m (S n h6 ,f x 67s") 86.XM.628.1 P R O VEN A N C E: Elias Antinopoulis, Paris; [ Brent Sikkema, Boston] . 133 226 Acquisitions/1986 134. KARL MO O N Amer i can, 1878-1948 The Peace Pipe, circa 1909 Sepi a-toned gelat i n silver pr i nt wi t h addi t i ons i n o i l ; squared i n penci l, 34.6 x 43.2 c m ( 13 W x 17") 86.XM.472.6 P R O VEN A N C E: Estate of Karl Moon; [ Argonaut Bookshop, San Francisco]. 135. EDWARD STEI CHEN Amer i can (b. Luxembour g) , 1879-1973 Untitled, 1915 Mo c k gum-bi chr omat e pr i nt , 21.2 x 16.6 c m ( 8 W x 6V2"). Si gned and dated at the upper r i ght . 86.XM.625.1 P R O VEN A N C E: John Simpson; [ Mack Lee]; [ Daniel Wolf, Inc., New York] . 136 136. MARGRET HE MATHER Amer i can, 1885-1952 Edward Weston, 1921 Pl at i num pr i nt , 19.1 x 24.1 cm (7 1/ 2" x 9'/2"). Signed and dated on the mo unt bel ow the i mage. 86.XM.721.5 P R O VEN A N C E: Edward Weston; by descent, Cole Weston, Carmel. 137. TI NA MODOTTI Itali an (active U.S., Mexi co, and Ger many) , 1896-1942 Dog and Tree, 1924 Gelat i n silver pr i nt , 8.3 x 11.9 c m (3 3 /s" x 4 1 1 / i 6") . Si gned and dated on the mo unt bel ow the i mage. 86.XM.722.4 P R O VEN A N C E: Edward Weston; by descent, Cole Weston, Carmel. 138 138. J OHAN HAGEMEYER Amer i can (b. Hol l and) , 1884-1962 Lily, 1926 Gelat i n silver pr i nt , 16.2 x 22.4 c m (6 3 /s" x 8 1 3 / i 6") . Si gned and dated on the mo unt bel ow the i mage. 86.XM.724.1 P R O VEN A N C E: Edward Weston; by descent, Cole Weston, Carmel. 137 134 135 Photographs 227 139 139. ANSEL ADAMS Amer i can, 1902-1984 Group Portrait, circa 1930 Gelat i n silver pr i nt , 17 x 22.7 c m (6 n he" x 8 1 5 / i 6 ") 86.XM.588.10 P R O VEN A N C E: Donald Tressider; Oliene Tres- sider Mintzer; Butterfield and Butterfield; [Paul M. Hertzmann, Inc., San Francisco]. 140 140. MARTI N MUNKACS I Amer i can (b. Hungar y) , 1896-1963 Motorcycle, circa 1930 Gelat i n silver pr i nt , 33.9 x 26.9 c m (137s" x 107i 6 ") 86.XM.529.5 P R O VEN A N C E: Joan Munkacsi; [ Howard Greenberg, New York] . 141 141. LOTTE JACOBI Amer i can (b. Ger many) , 1896 Modern Monk Cleaning in Cloister, early 1930s Gelat i n silver pr i nt , 21.8 x 13.4 c m (87i6" x 5 5 / i 6 ") . Si gned i n penci l at the r i ght ; photographer' s wet stamp on the verso. 86.XM.642.1 P R O VEN A N C E: Folkwang-Auriga Archive, Berlin, West Germany; [Mathias Schroeder, Radbruch, West Germany]. 142 and corrections i n black-and- whi t e i nk, 22.4 x 16.5 c m ( 8 1 3 / i 6" x 6V2"). Designer's scaling marks and Studi o Deber ny-Pei g- not stamp on the verso. 86.XM.627.1 P R O VEN A N C E: Paul Pavel family; [Brent Sikkema, Boston] . 143 143. BRASSAI (Gyula Halsz) Hungar i an (active France), 1899-1984 Odalisque, 1934-1935 Cliche-verre, gelati n silver pr i nt , 39.4 x 29.3 c m ( 157/ x l l 9 / i 6 " ) 86. XM. 3. 5 P R O VEN A N C E: Louis Stettner, New York. 142. MAURI CE TABARD French, 1897-1984 Schn ist ein Zylinderhut, 1931 Gelat i n silver pr i nt wi t h addi ti ons 228 Acquisitions/1986 144 144. WEEGEE (Arthur H. Fellig) Amer i can (b. Hungar y) , 1899-1968 Their First Murder, circa 1936 Gelat i n silver pr i nt , 25.6 x 27.9 c m (lOVie" x 11"). Two photographer' s wet stamps on the verso. 86. XM. 4. 6 P R O VEN A N C E: Louis Stettner, New York. 145. JOSEF SUDEK Czech, 1896-1976 Panorama of Prague, circa 1946 Gelat i n silver pr i nt , 15.9 x 50.7 c m (6V4" x 20") 86.XM.516.1 P R O VEN A N C E: Victor Musgrove, London; [ David Dawson and Paul Kasmin, London] . 146. BI LL BRANDT Br i t i sh, 1904-1983 Girl on Boat, circa 1946 Gel at i n silver pr i nt , 25.4 x 20.1 c m (10" x 7 1 5 / i 6 ") . Photographer' s wet stamp on the verso. 86.XM.618.4 P R O VEN A N C E: Noya Brandt, London; [ Marlborough Fine Ar t , Ltd., London] ; [ Edwi n Houk Gallery, Chicago]. 145 146 Photographs 229 A S E L E C T I O N O F P H O T O G R A P H E R S C O L L E C T E D I N D E P T H J UL I A MA R G A R ET C A MER O N . Dur i n g 1986 the Mus eum acqui red a gr oup o f t went y-seven photographs made by or relat i ng t o the Engl i sh photographer Juli a Mar gar et Camer on (1815-1879), who was the subject o f the Depar t ment o f Photographs' i naugural exhi bi t i on, Whisper of the Muse, hel d i n the fall. Ten o f this gr oup are portrai ts by Camer on herself; seven o f these are al bumen pri nts, t wo are carbon pri nt s, and one is an autotype. They range i n date f r o m 1865 t o 1875, thus coveri ng nearly all o f her wo r k i n g life. The people depi cted i nclude three o f Mr s. Cameron's five sons, the essayist Sir Henr y Taylor, and a Singhalese gi r l . Fifteen o f the photographs were made bet ween 1870 and 1900 by the youngest o f Mr s. Cameron's five sons, Henr y Herschel Hay Camer on (1852-1911), who was a successful por t r ai t phot ogr a- pher i n his o wn right. These are al bu- men and gelati n silver pri nts. A l l fifteen are portrai ts except one, whi c h is a pho- t ograph o f a por t r ai t o f Juli a Margaret Camer on pai nt ed by George Frederic Watts (1817-1904). The t wo r emai ni ng photographs i n this gr oup are by un k n o wn makers. One is an unsi gned al bumen pr i nt o f the 1860s whi c h depicts Mr s. Cameron's house on the Isle o f Wi g ht and whi c h may be by her. The subject o f the last, a gelat i n silver pr i nt f r o m the 1880s, is a pai r o f chess players; one o f t hem is Har di nge Hay Camer on (1846-1911), another o f her sons, who may have made this study. Juli a Mar gar et Camer on is the most i mpor t ant por t r ai t phot ographer i n the hi st or y o f Engl i sh photography. Bo r n Juli a Margaret Pattle i n Calcut t a and raised and educated i n Paris, she l i ved again i n Indi a and Ceyl on for a decade after her marri age t o the di st i ngui shed Angl o-I ndi an j ur i st Charles Hay Camer on (1795-1880). They moved t o Engl and i n 1848 and settled on the Isle o f Wi g ht i n 1860. There, at the age o f for t y-ei ght , she t ook up phot ogr a- phy. She pursued the medi um wi t h great energy, and i t br ought her consider- able cri ti cal acclai m and modest c o m- merci al success. Camer on made few photographs after 1875, the year she and her husband ret urned t o Ceyl on; she di ed there i n 1879. Henr y Herschel Hay Cameron's por t r ai t o f his mot her (no. 147) shows her enveloped i n one o f the shawls that were part o f her usual garb. Thi s sedate i mage gives l i t t l e i ndi cat i on o f Mr s. Cameron's i ndefat i - gable nature. The Museum' s hol di ng o f Mr s. Cameron's wo r k, n o w the most ext en- sive and i mpor t ant outsi de England, is complement ed by a provocati ve gr oup o f Camer on fami l y papers be- l ongi ng t o the Archi ves o f the Hi st or y o f Ar t , a depart ment o f the Get t y Center for the Hi st o r y o f Ar t and the Humani t i es. Bo t h the Ar chi ves' hol di ng and the photographs reproduced here derive f r o m Har di nge Hay Camer on. Her wo r k has been characterized as t ypologi cal. That is, i n the characteristic Camer on i mage the model stands bot h for h i m- or herself and for a fi gur al t ype dr awn f r o m a li t erary or reli gi ous source. I n thus representi ng her sitters, she hoped t o i mbue her photographs wi t h bot h physical and spi ri t ual beauty. I n short, her i nt ent was t o make phot ogr aphy an art o f mor al purpose. There was also a genre aspect t o her wo r k. Thi s is seen, for example, i n the study o f about 1872 she ent i t led May Prinsep (The Letter) (no. 148). The sub- ject o f letters beari ng port ent ous news, whet her f r o m lovers, fami ly, or friends, appeared oft en i n Vi ct or i an images. The model here is May Prinsep, a niece o f a br ot her -i n-l aw o f Camer on, who also posed often for G. F. Watts. Camer on cast her as Elai ne i n the photographs she made as i llust rat i ons for Tennyson's Idylls of the King (1875). The poi gnant 1864 study o f the young El l en Ter r y (no. 149) is Mr s. Cameron's fi rst master- piece. The sitter is the celebrated actress, who had mar r i ed the pai nter Watts the year before the col l odi on negative for the phot ogr aph was made. Al b ume n pri nt s dat i ng f r o m 1864and pr i nt ed i n reversewere ent i t led Sadness, suggest- i ng the result o f an unhappy uni on; Watts and Ter r y were later di vorced. Thi s carbon pr i nt , commi ssi oned by Mr s. Camer on, was made about 1875 by craftsmen o f the Aut ot ype Company o f London. They restored the or i gi nal damaged negative and somewhat enlarged the i mage, whi c h received its present ti tle, Ellen Terry at the Age of Sixteen, when i t was published by Al fr ed Stieglitz i n his j our nal Camera Work i n January 1913. ( A rectangular versi on o f this subject exists whi c h shows even mor e o f the damage t o the negative. I n i t the i mage is also reversed.) The decol- letage and loosed hair, whi c h are ext raordi nary for the peri od, serve t o emphasize the vul ner abi l i t y o f the sitter, as does the carefully cont r olled l i ght . Lumi nous portrai ts such as this one exerted a great influence on the later development o f pi ct or i al phot ogr aphy and secured for Camer on a pr omi nent place i n the hi st or y o f photography. 147 147. HENRY HERSCHEL HAY CAMERON Br i t i sh, 1852-1911 Portrait of Julia Margaret Cameron, 1874 Al b ume n pr i nt , 25.6 x 21.6 c m (10" x 872") . Inscri bed: Photograph from the life taken by my youngest son Henry Herschel Hay Cameron. Taken in 1874. Tor my cherished son Hardinge with the love and blessing of his mother Julia Margaret Cameron. March 10th, 1877. on the mo unt be- l o w the i mage. 86.XM.637.1 P R O VEN A N C E: Hardinge Hay Cameron; Adeline Blake (Mrs. Hardinge Hay) 230 Acquisitions/1986 Cameron; Geraldine Blake Thomas (a sister of Adeline Blake Cameron); Neville Hi ck- man, Bi rmi ngham, England. 148. JULI A MARGARET CAMERON Br i t i sh, 1815-1879 May Prinsep (The Letter), circa 1872 Al b ume n pr i nt , 31.7 x 22.3 c m (12 9 /l6" X 8 1 3 / l 6") 86. XM. 636. 5 P R O VEN A N C E: Hardinge Hay Cameron; Adeline Blake (Mrs. Hardinge Hay) Cameron; Geraldine Blake Thomas (a sister of Adeline Blake Cameron); Neville Hickman, Bi rmi ngham, England. 149. JULI A MARGARET CAMERON Br i t i sh, 1815-1879 Ellen Terry at the Age of Sixteen, circa 1875, f r o m a negative o f 1864 Car bon pr i nt , Di am: 24.2 c m ( 9 9 / i 6") . Inscri bed: H. H. Cameron, 100 Holywell o n the verso. 86. XM. 636. 1 P R O VEN A N C E: Hardinge Hay Cameron; Adeline Blake (Mrs. Hardinge Hay) Cameron; Geraldine Blake Thomas (a sister of Adeline Blake Cameron); Neville Hickman, Bi rmi ngham, England. 149 F EL I X TEY N A R D . A French ci vi l engi - neer, Teynard (18171892) made phot o- graphs i n Egypt i n 1851 and 1852 usi ng a paper negative process. Begi nni ng i n 1853 and cont i nui ng unt i l 1858, pri nt s were produced i n France f r o m his nega- tives one at a t i me and mount ed by hand one t o a page and t hen issued i n small groups. When these fascicles were gathered together i n 1858, the c o m- pleted set o f photographs compri sed a t wo- vol ume set cont ai ni ng 160 plates, ent i t led Egypte et Nubie, sites et monu- ments les plus interessants pour Vetude de Vart et de l'histoire. Fewer than a dozen complet e copies survi ve, one o f whi c h the Mus eum has no w acquired. Al t ho ug h Teynard's photographs were publi shed wi t h accompanyi ng plans o f some o f the monument s o f Egypt i an ant i qui t y and explanatory notes t o the photographs, his i nt ent was not si mpl y t o record ant i qui t y but rather t o depict the overall beauty o f Egypt i an architecture and its setti ng. Hi s subjects were pr edomi nant l y r ui ned temples, but they also i ncluded Ar ab houses, mosques, and cemeteries, the Ni l e and its cataracts, and studies o f pal m trees and mount ai ns. At each o f the many archaeological sites t o whi c h Teynard traveled he made at least one general vi ew o f the rui ns, such as the vi ew o f the t emple at Edfu (no. 152), t hen framed mor e parti culari zed c o m- posi ti ons, and fi nally phot ographed an archi tectural detai l or t wo. As the vi ew o f the capitals o f the t emple at Esna (no. 150) indicates, Teynard occasionally decontextuali zed archi tectural details. He treated t hem wi t h soft-focus t o lend t hem a sense o f myst er y wi t ho ut , however, det ract i ng f r o m the sense he gave o f the ext raordi nary sol i di t y o f Egypt i an monument al architecture. He is not ed for his mastery o f the use o f shadow i n pat t er ni ng his wo r k, as the phot ogr aph o f the r ock-cut t emple at Ab u Si mbel (no. 151) clearly demon- strates. I t is unusual among ni net eent h- cent ury photographs o f this subject i n that i t shows the temple's r elat i on t o 148 Photographs 231 the Ni l e. Teynard's response t o the at- mosphere o f Egypt was a mi xt ur e o f melancholy and wonder and, as such, epi tomi zes ni net eent h-cent ury r omant i ci sm. 150 150. FELIX TEYNARD French, 1817-1892 Capitals, Shafts, and Architrave, Temple of Knum, Esna, 1852 Salt pr i nt , 24.9 x 30.8 c m ( 9 1 3 / i 6 " x 12V8") 86.XB.693.1.71 P R O VEN A N C E: Private collection, Los Angeles; [ Zei tli n and Ver Brugge, Los Angeles]. 151 151. FELIX TEYNARD French, 1817-1892 Colossi in Profile, Great Temple, Abu Simbel, 1852 Salt pr i nt , 30.8 x 25.3 c m (1278" x 10") 86.XB.693.2.154 P R O VEN A N C E: Private collection, Los Angeles; [ Zei tli n and Ver Brugge, Los Angeles]. 152. FELI X TEYNARD French, 1817-1892 Pylon, Temple of Horus, Edfu, 1852 Salt pr i nt , 237 x 30.5 c m ( 9 W x 12") 86.XB.693.1.75 P R O VEN A N C E: Private collection, Los Angeles; [ Zei tli n and Ver Brugge, Los Angeles]. ED W A R D W ES TO N . I n 1986 the Mu - seum acquired a collect i on o f 821 phot o- graphs by and about Edwar d Weston (1886-1958) and his fami ly, plus four - teen images by artists associated wi t h Weston. The enti re gr oup was pur - chased f r o m the artist's son Cole. A l l made at the t i me o f the negatives, these photographs chroni cle Weston's early career, f r o m 1906 when he moved f r o m Chi cago t o Los Angeles t o the 1920s when he gravi tated fi rst t o Mexi co and t hen t o No r t her n Cali forni a. For the most part, the i ndi vi dual pri nt s and a mi no r i t y o f al bum pri nt s are signed and t i t l ed by the artist. The gr oupi ng i n - cludes pr i mar i l y gelat i n silver and pl at i - n um pri nts, wi t h some pal l adi um and cyanotype pri nt s; all range i n size f r o m T/8-by-l 5 /s t o lT/8 -by-14Vi6 inches. Near l y ei ght hundr ed o f these images come f r o m fami l y albums compi l ed and t i t l ed by the artist's fi rst wi fe, Flora Chandler Weston. Mo s t o f these fami l y pri nts, whi c h are pr i mar i l y bi ographi cal and autobi ographi cal i n nature, are mount ed o n pages whi c h have been gathered, someti mes unbound, i nt o al - bums. The maj or i t y o f the al bum pho- tographs have been at t ri but ed t o Weston; however, about one hundr ed fi ft y are o f undet er mi ned authorshi p. The collect i on also contains many i ndi vi dual Weston photographs that are central to his art before 1925 and were pr i nt ed for exhi bi t i on purposes. Master pri nt s f r o m the Ar mc o Steel series, portrai ts o f his l ongt i me model and fri end Ti na Mo d o t t i , and fi gure studies o f the dancer Bert ha Wardell are i ncluded, as wel l as those i llustrated here: Plaster Works (no. 156), Chandler Weston (no. 155), and Chandler Weston in His Shop (no. 157). The al bum photographs provi de i n - si ght ful glimpses i nt o Weston's transi - t i on f r o m a pr omi si ng j uveni l e t o a f ul l - fledged artist. I n addi t i on t o the 762 photographs i ncluded i n i nfor mal albums, about t hi r t y others were or i gi nal l y mount ed i n albums and subsequently removed before they ar- rived at the Museum. One such pr i nt is the Back Entrance of Edward Weston's First Studio, Tropico (no. 154). Const ruct ed for a mere six hundr ed dollars i n the small t o wn o f Tropi co (today part o f Gl en- dale), thi s studi o served Weston for the enti re early phase o f his career, f r om 1911 t o the early 1920s. Its par ed-down, unpret ent i ous facade is emblemati c o f his l i fel ong devot i on t o mai nt ai ni ng an uncompli cat ed, bohemi an existence. Forsaki ng the fi nanci al rewards and glamour that mi ght have been his had he ful l y pursued commer ci al phot ogr a- phy, he made a choice t o wo r k out o f his si mple rural studi o rather than one i n the center o f Los Angeles. Weston's Self Portrait (no. 153), also for mer l y mount ed i n an al bum, shows the ambi t i ous artist as he l ooked at t went y-four or t went y-fi ve. Ar ms folded, sleeves r olled up, and stari ng di rect ly and self-assuredly at the camera, he appears ready t o go t o wo r k. Indeed, Weston wo r ked ver y hard at his craft dur i ng these early years. Dur i n g the fi rst part o f his career, Weston wor ked pr i mar i l y i n his studi o. Bet ween commer ci al assignments, he honed his skills as a portrai ti st. The fine pl at i num pr i nt Chandler Weston is one o f a series o f sensitive portrai ts o f his eldest son; the newl y acquired collect i on includes several other photographs f r o m this series, such as Chandler Weston in 232 Acquisitions/1986 His Shop. Weston's earlier portrai ts were t ypi cal l y executed i n the pi ct ori ali st style, o f whi c h he was an i mpor t ant West Coast exponent. I n its flat t eni ng o f space and playful geomet r y o f shadow, Chandler Weston, f r o m 1920, shows signs o f Weston's moder ni st explorati ons. Five years later, dur i ng a per i od o f travel and after his artistic renewal i n Mexi c o dur i ng 1923-1924, West on pho- t ographed Plaster Works. Thi s extraor- di nar y pl at i num phot ogr aph, made on a r et ur n vi si t t o Los Angeles, i nvi tes compar i son wi t h Chandler Weston i n its soft, evocative use o f l i ght and f o r m. Ut i l i z i n g the subtle geomet ri c abstrac- t i on o f a plaster mi l l , West on goes beyond his early fl i r t at i on wi t h moder n- i sm t o achieve a masterful mer gi ng o f the softness o f pi ct or i al i sm wi t h the dy- nami sm o f Const r uct i vi st pai nt i ng. 153 153. EDWARD WESTON Amer i can, 1886-1958 Self-Portrait, circa 1910-1911 Gelat i n silver pr i nt , 16.5 x 10.1 c m (6V2" x 3 1 5 / l 6") 86.XM.719.4 P R O VEN A N C E: By descent, Cole Weston, Carmel. 154. EDWARD WESTON Amer i can, 1886-1958 Back Entrance of Edward Westons First Studio, Tropico, circa 1915 Gelat i n silver pr i nt , 11.9 x 20.3 c m ( 4 u / i 6" x 8"). Inscri bed: (?) ed Studio, Glendale, Calif, i n an un - k n o wn hand on the verso. 86.XM.719.27 P R O VEN A N C E: By descent, Cole Weston, Carmel. 155 155. EDWARD WESTON Amer i can, 1886-1958 Chandler Weston, 1920 Pl at i num pr i nt , 19.2 x 23.6 c m ( 7 9 / i 6" x 9 5 / i 6") . Signed, dated, and i nscri bed Chandler, o n the recto o f the mo unt bel ow the i mage. 86.XM.710.10 P R O VEN A N C E: By descent, Cole Weston, Carmel. 156 Photographs 233 156. EDWARD WESTON Amer i can, 1886-1958 Plaster Works, 1925 Pl at i num pr i nt , 19.2 x 24 c m ( 7 9 / i 6" x 9 7 / i 6") . Signed, dated, and i nscri bed Los Angeles on the verso. 86.XM.710.5 P R O VEN A N C E: By descent, Cole Weston, Carmel. 157. EDWARD WESTON Amer i can, 1886-1958 Chandler Weston in His Shop, 1920 Pl at i num pr i nt , 23.7 x 19 c m (9 5 A6 " x 7V2"). Signed and dated on the recto o f the mo unt bel ow the i mage. 86.XM.710.12 P R O VEN A N C E: By descent, Cole Weston, Carmel. MA N R A Y . I n 1986 the Mus eum acquired a gr oup o f t went y-si x phot o- graphs r angi ng i n date f r o m 1917 t o 1951 by the Amer i can artist Ma n Ray (ne Emmanuel Radni tsky, 1890-1976) . Var yi ng i n size f r o m 3 7 / s-by-2 1 5 / i 6 t o U 1 3 / i 6-by-9 3 / i 6 inches, these pri nt s are the earliest or best sur vi vi ng ones f r om the negatives and were made by h i m at the t i me the negatives were made. Thi s gr oup o f images, assembled f r o m a var i - ety o f sources by the Ne w Yor k dealer- collector Dani el Wolf, is part i cularly st rong i n wor ks f r o m the fi rst decade o f Ma n Ray's career. Ma n Raythe painter, wr i t er , and maker o f objectswas also an excep- t i onal l y i nvent i ve photographer. Bo r n and educated i n the Uni t ed States, he fi rst wor ked as a commer ci al artist i n Ne w Yor k Ci t y dur i ng the early teens o f the century. Hi s visits t o Al fr ed Stieglitz's 291 gallery acquainted h i m wi t h the idea o f experi ment al art, and he soon met Stanton Mac Do nal d- Wr i ght , Mo r gan Russell, and Mar cel Duchamp. ( He met the last i n 1915, and the t wo developed a fri endshi p that lasted nearly fi ft y years.) Dur i n g muc h o f his career Ma n Ray wor ked si mul - taneously at pai nt i ng, collage, and photography. I n his aut obi ography he described ho w natural i t was for h i m t o create i n several medi a. " I had never shared the cont empt shown by other painters for phot ography, " he wr ot e. "Ther e was no compet i t i on i nvolved, rather the t wo medi ums [ pai nt i ng and phot ogr aphy] were engaged i n di fferent paths." Ab o ut 1915, Duchamp i nvi t ed Ma n Ray t o vi si t his wo r k space i n a c o m- merci al l oft bui l di ng that housed such tradesmen as pri nters and ti re v ul - canizers. I n Duchamp' s quarters he found not hi ng that resembled a painter's studio. " I n the far corner near the wi n - dow, " he later recalled, "st ood a pai r o f trestles on whi c h lay a large piece o f heavy glass covered wi t h i ntri cate patterns l ai d out i n fine lead wi res." The piece had a deep influence on Ma n Ray, who soon qui t his j o b as a commer - cial artist t o dedicate hi msel f exclu- sively t o photography. Ma n Ray soon fol l owed Duchamp t o Paris and was i nt r oduced there t o Tri stan Tzara, Andr e Br et on, Francis Picabia, and other parti ci pants i n the Dadaist movement . I n Paris i n 1917 he phot ographed Duchamp wi t h his Glissiere contenant un moulin eau en me- taux voisins (19131915, a study for his Large Glass), the most i mpressi ve Dada- object f r o m Duchamp' s Paris years. Ma n Ray's phot ogr aph (no. 158) i nt r o - duces elements o f spatial i l l usi on and port rai t ure t o Duchamp' s sculpture vi a the background, whi c h includes wi res f r o m an electric meter that appear t o be attached t o the t op edge o f the sculp- ture. Duchamp is shown stretched am- bi guously on a table suppor t i ng the object i n a way that confuses what is up wi t h what is down. Bet ween t hem, Ma n Ray and Duchamp created a wo r k that bridges the gap bet ween the cre- ative act and publi c percepti on o f a wo r k o f art. It was t hr ough the fi lter o f Ma n Ray's eye that the wo r l d saw Duchamp' s wo r k. Duchamp' s celebrated altered ready-made, L.H.O.O.Q. (a color postcard o f da Vi nci ' s Mona Lisa, t o whi c h Duchamp added dr awi ng and t ext ) , was propagated vi a Ma n Ray's phot ogr aph La Joconde vue par Duchamp (no. 159). Even t hough Duchamp had the idea o f mani pul at i ng the celebrated pai nt i ng, Ma n Ray i ni t i aled the phot o- graph o f i t , thus i dent i fyi ng hi msel f wi t h the idea. The Museum' s pr i nt is believed t o be the earliest sur vi vi ng Ma n Ray replica o f L.H.O.O.Q., the one Duchamp valued over the "o r i gi nal " altered postcard. Soon after ar r i vi ng i n Paris, Ma n Ray began a r omant i c relati onshi p wi t h Ki k i o f Montparnasse (nee Al i ce Pr i n i n Br i t - tany) , who was a popular artist's model . She i nspi red Ma n Ray's artistic interest i n the female fi gure. Le violon dTngres (no. 160), Ma n Ray's altered phot ogr aph o f her, was his answer t o Duchamp' s L.H.O.O.Q. Wi t ho ut the i nk design representi ng the sound holes o f a vi o l i n that has been superi mposed on the model' s back, the phot ogr aph wo ul d resemble an academic study; wi t h the design, there is a wi t t y reference t o Ingres' hobby o f playi ng the vi o l i n and t o the fi gure i n his celebrated pai nt i ng The Turkish Bath (1859-1863, no w i n the Musee du Louvr e) . 157 234 Acquisitions/1986 158. MA N RAY Amer i can, 1890-1976 Duchamp avec son verre ( Duchamp wi t h [a study for hi s] Large Glass), 1917 Gelat i n silver pr i nt , 8.6 x 15.2 c m ( 3 W x 6Vi6"). Signed, dated, i n - scribed, and mar ked wi t h a pho- tographer s wet stamp on the verso. 86. XM. 626. 4 P R O VEN A N C E: Art uro Schwarz; [ Daniel Wolf, New York] . 159. MA N RAY Amer i can, 1890-1976 La Joconde vue par Duchamp (Mona Lisa as seen by Duchamp) , 1921/22 ( fr om a ready-made o f 1914) Gelat i n silver pr i nt , 16.9 x 10.5 c m (6 5 /s" x 4V 8 ") I ni t i aled at the l ower r i ght . 86.XM.626.1 P R O VEN A N C E: Arturo Schwarz; [ Daniel Wolf, New York] . 159 160. MA N RAY Amer i can, 1890-1976 Le violon dTngres, 1924 Gelat i n silver pr i nt , 29.5 x 22.8 c m ( l l W x 9"). Si gned and dated at the l ower r i ght ; photographer' s wet stamp on the verso. 86.XM.626.10 P R O VEN A N C E: [Robert Kasmin, London] ; Paul Kasmin; [ Daniel Wolf, New York] . 160 158 Photographs 235 P A UL S TR A N D . Dur i n g 1986 the Mus eum acquired a gr oup o f 117 phot o- graphs r angi ng i n date f r o m 1913 t o 1955 by the Amer i can artist Paul Strand (1890-1976). These photographs, var yi ng i n size f r o m 4V2-by-5 3 /4 t o 13V8-by-7 3 A inches, are the best sur vi v- i ng pri nts made at the t i me the negatives were made. Strand, a master pri nter, employed pl at i num, pal l adi um, satista, Cykor a, br omi de, and gelat i n silver papers i n creati ng these photographs. Thi s comprehensi ve gr oup o f pri nt s spans Strand's career f r o m before his fi rst cri t i que wi t h Al f r ed Sti egli tz i n 1915 t o his later years and expatriate li fe i n France. Still Life with Matchboxes (no. 161) is one o f a series o f experiments i n abstrac- t i on produced by the artist at his family's summer cottage at Twi n Lakes, Co n - necti cut, i n 1916. Al t ho ugh the i mage most l i kel y ori gi nat ed as a 3V4-by-4V4- i nch negative made wi t h Strand's hand- held Ensi gn camera, the large satista pr i nt was probably contact pr i nt ed f r o m a negative enlarged by the lant ern- slide pr oj ect i on met hod. At this t i me Strand was maki ng his carefully crafted pri nt s at the Camera Cl ub o f Ne w Yor k, where he had been usi ng a dar k- r o o m since gr aduat i ng f r o m the Et hi cal Cul t ur e School i n 1909. I n the summer o f 1916, perhaps wi t h the encourage- ment o f Stieglitz, the artist pushed his moder ni st i nsti ncts t o t hei r l i mi t s. Sti egli tz had revi ewed Strand's wo r k i n 1915 and, i n Mar c h 1916, had gi ven h i m a one-man show, Photographs of New York and Other Places by Paul Strand, at his gallery, 291. That summer, Strand was l o o ki ng not at the ci t y but rather at composi t i ons o f his o wn maki ng, set up on the por ch o f the Twi n Lakes cot - tage. Bottles, bowls, chairs, fr ui t , and matchboxes pr ovi ded the raw mat eri al for i mager y that fi nal l y ranged f r o m the nearly realistic to the t ot al l y abstract. I n Still Life with Matchboxes, subject mat t er is st i l l recognizable, albeit unexpected, but the sense o f space and scale is frac- t ured and ambi guous. The war m grays o f the pr i nt range beaut i fully t hr ough the solids and shadows f r o m the whi t e b o wl at the upper left t o the almost - black bot t le at the l ower r i ght . I n 1919 Strand met Rebecca Salsbury, a teacher who wo ul d later become a painter; i n 1922 they were mar r i ed. Thr o ugh Strand, Rebecca met and be- came friends wi t h Al f r ed Sti egli tz and his wi fe, Georgi a O' Keeffe. Rebecca at Dr. Stieglitz's, Mamaroneck, New York (no. 162) was made i n 1920, the year Strand began c ompi l i ng a "por t r ai t " o f his wi fe. Thi s series also chroni cled t hei r twelve-year marri age. I n 1932, after exhi bi t i ng together at Stieglitz's A n Amer i can Place gallery i n Ne w Yor k, they separated. The 1986 acquisi- t i on includes ei ght o f Strand's portrai ts o f Rebecca. Hi s series is someti mes compared t o that made by Stieglitz, ent i t led Georgia O'Keeffe, A Portrait, between 1917 and 1930. Stieglitz's idea o f one por t r ai t made o f many parts may have i nspi red Strand's series; on the other hand, i t may have been an extensi on o f the intense i nvest i gat i on o f port rai t ure he had begun several years earlier i n his "candi d" Ne w Yor k street photographs. Strand seems t o have become aware o f architecture as an i mpor t ant subject for phot ogr aphy ver y early i n his career. When he established hi msel f as a c o m- merci al phot ographer i n 1912 he set out t o earn an i ncome by document i ng the architecture o f college campuses and selli ng the fi nal hand-colored pl at i num pri nt s t o depart i ng seniors as souvenirs. Al t ho ugh this enterprise di d not prove part i cularly lucrati ve, i t di d pr ovi de h i m wi t h the excuse t o travel ar ound the count ry, t o l o o k at vari ous ki nds o f bui ldi ngs, and t o develop an eye for the forms and pot ent i al i conography o f archi tectural photography. Strand's Wall Street (1915) shows his abi li t y t o use archi tectural forms expressively, but White Fence, Port Kent, New York (1916), mor e si gni fi cantly, foreshadows his mat ure wo r k and, i n parti cular, his persistent at t ent i on t o the forms o f vernacular architecture. Bet ween 1930 and 1932 the Strands spent summers i n Taos, Ne w Mexi co, usi ng as t hei r base one o f the cottages owned by the art pat r on Mab el Dodge Luhan. Fr o m there Strand explored the archi tectural remnants o f the r egi on that was once front i er Amer i ca. City Hall, Ghost Town (St. Elmo?) Colorado (no. 163), a small br omi de pr i nt o f 1931, is an exquisite mi ni at ur e renderi ng o f the edifice o f a deserted publi c bui l di ng set against vi gor ous hi lls and clouds, l i t by a br i ght ful l sun and phot ographed straight on. Thr o ugh Strand's honest v i - si on the onet i me ci t y hall is shown as a majestic Amer i can r ui n. The Museum' s pr i nt is i ndeed a muc h mor e accurate record o f the ci t y hall than the mor e fa- mi l i ar hor i zont al versi on o f this phot o- graph, whi c h harks back t o Strand's experi ments o f the teens. I n the ho r i - zontal i mage the structure is isolated f r o m any context, natural or man- made, and the fi nal effect is o f a mor e abstracted facade wi t h bol d black- ened wi ndows. 236 Acquisitions/1986 161. PAUL STRAND Amer i can, 1890-1976 Still Life with Matchboxes, 1916 Satista pr i nt on rice paper mount , 33.4 x 19.8 c m (13V 8 " x 7 5 /s"). Si gned at the l ower r i ght . 86.XM.683.59 P R O VEN A N C E: The Aperture Foundation, New York. 162. PAUL STRAND Amer i can, 1890-1976 Rebecca at Dr. Stieglitz's, Mamaroneck, New York, 1920 Pl at i num pr i nt , 25.1 x 20 c m (9 7 /s" x 7 7 /s") 86.XM.683.1 P R O VEN A N C E: The Aperture Foundation, New York. 163 163. PAUL STRAND Amer i can, 1890-1976 City Hall, Ghost Town (St. Elmo?), Colorado, 1931 Silver br omi de pr i nt , 14.6 x 11.3 c m (5 3 A " x 47i 6 ") . Inscri bed: Paul Strand HS. by Hazel Strand o n the verso. 86.XM.683.64 P R O VEN A N C E: The Aperture Foundation, New York. A N D R E K ER TES Z . I n 1986 the Mus eum acqui red a gr oup o f for t y-one phot o- graphs by Andr e Kertesz ( 1894-1985) , who was b o r n i n Hungar y and moved t o Paris i n 1925 and t hen t o Ne w Yor k i n 1936. These pri nt s, var yi ng i n size f r o m 6 7 / s-by-6V4 t o l l 7 / s - b y- 7 1 5 / i 6 inches and i n date f r o m the 1910s t o 1958, are for the most part either uni que pieces or the earliest and best sur vi vi ng pri nt s created by the phot ographer i n gelati n silver at the t i me the negatives were made. Acqui r ed pr i nci pal l y f r o m the estate o f Andr e Kertesz, the gr oup i n - cludes images r angi ng f r o m the begi n- ni ng o f his career i n Budapest t o his fi rst experi ment al wo r k i n Paris t o his Ne w Yor k per i od, when he was i n ful l creative stride. I n Paris Kertesz entered the circle o f leadi ng painters and sculptors, i n - cl udi ng Tri stan Tzara, Mar c Chagall, Alexander Calder, and Piet Mo ndr i an. Kertesz's photographs have muc h i n c o mmo n wi t h the wo r k o f artists wi t h 161 162 Photographs 237 wh o m he fraternized, yet he remai ned generally i ndependent o f t hei r man- ifestos and movements. Bo t h an i nnova- t or and a teacher, he i nt r oduced Brassa'i, who was trai ned as a wr i t er , t o the art o f photography, and he also greatly i nfluenced Henr i Carti er-Bresson. Kertesz once pr ovi ded an apt characterization o f his wo r k when he described hi msel f as a "nat urali st - surrealist." Indeed, i n his most charac- teristic photographs, a surrealistic perspective is mi xed wi t h his abi di ng interest i n the mani fest ly or di nar y aspects o f dai ly life. Thi s naturalist-surrealist element is evi dent i n the four photographs r epr o- duced here. Kertesz had an i nst i nct for endowi ng commonplace subjects wi t h an aura o f the mysteri ous and super- natural. I f the subject was a st i l l life, Kertesz wo ul d deftly choose his vi ew- poi nt and occasionally make a subtle alterati on t o gai n the desired effect. Chez Mondrian (no. 165), for example, was phot ographed f r om the inside o f that artist's studi o l o o ki ng t owar d the st ai rwell. A straw hat bel ongi ng t o the wr i t er and phot ographer Mi chael Seuphor hangs nearly obscured on the wal l where Kertesz presumably found i t ; the vase, however, has been moved f r om the center o f the table t o its edge i n order t o complete the effect o f a bal - anced composi t i on. Kertesz was less l i kel y t o rearrange his subject, ho w- ever, t han t o phot ogr aph i t at the most reveali ng i nstant or f r o m the most t el l i ng vi ewpoi nt . Thi s tendency is evi dent i n Smokestacks at Night, Paris (no. 164). The key t o this phot ogr aph is the t i me o f daypresumably dusk when there was j ust enough l i ght left i n the sky to si lhouette the smokestacks but not so muc h as t o di mi ni sh the mysteri ous gl ow o f the single l i ght ed wi n d o w Kertesz's di st i nct i ve talent lay i n his abi li t y seemi ngly t o record a vi sual per- cepti on the moment he had i t , t o create the i l l usi on that the pi cture was made i n the eyes and mi n d wi t ho ut the i nt er ven- t i on o f the hands. I n Diver in a Paris Pool (no. 166) and Fete Performer (no. 167) muc h is left t o the viewer' s i magi nat i on. Bo t h photographs rely on us t o f i l l i n elements that li e outsi de the frame or that are so i ndi st i nct as t o be i llegi ble. I n Fete Performer we i nfer that the busker has an audience other t han the soli tary fi gure i n the backgr ound and that the t wo chairs are standi ng on an elevated pl at for m; i n Diver we assume the fi gure is di vi ng i nt o a s wi mmi n g pool and that the bl ur r y for egr ound is water. 164 164. ANDRE KERTESZ Amer i can (b. Hungar y) , 1894-1985 Smokestacks at Night, Paris, 1927 Gelat i n silver pr i nt , 6.6 x 6.2 c m ( 2 3 / l6" X27l6") 86.XM.706.2 P R O VEN A N C E: Estate of Andre Kertesz, New York. 165. ANDRE KERTESZ Amer i can (b. Hungar y) , 1894-1985 Chez Mondrian, 1926 Gelat i n silver pr i nt , 10.9 x 7.9 c m (4 5 /I" x 3V8"). Signed and i nscri bed Paris bel ow the i mage. 86.XM.706.10 P R O VEN A N C E: Estate of Andre Kertesz, New York. 238 Acquisitions/1986 166 166. ANDRE KERTESZ Amer i can (b. Hungar y) , 1894-1985 Diver in a Paris Pool, 1929 Gel at i n silver pr i nt , 25 x 19.1 c m (97s" x 7V 2 "). Dat ed at the t op cen- ter o f the verso. 86.XM.706.30 P R O VEN A N C E: Estate of Andre Kertesz, New York. 167 167. ANDRE KERTESZ Amer i can (b. Hungar y) , 1894-1985 Fete Performer, 1931 Gelat i n silver pr i nt , 23.9 x 19 c m ( 97i 6 " x 77i6"). Dat ed at the l ower r i ght o f the verso. 86.XM.706.28 P R O VEN A N C E: Estate of Andre Kertesz, New York. Trustees Staff List (As of July 1, 1987) Har ol d E. Berg Chairman Har ol d M. Wi l l i ams* President Nor r i s Bramlet t * Kennet h Dayt on John T. Fey Gor don P. Getty* J. Ronald Get t y (honorary ) Jon B. Lovelace Fr ankli n D. Mur phy* Stuart T. Peeler Rocco C. Siciliano Jennifer Jones Si mon* J. Patrick Whaley Ot t o Wi t t mann* Federico Zer i (honorary ) * Acquisitions Commi t t ee member John Walsh Director Deborah Gr i bbon Associate Director for Curatorial Affairs Bret Waller Associate Director for Education and Public Affairs Barbara Whi t ney Associate Director for Administration Bur t on B. Fredericksen Senior Curator for Research A DMI N I S T R A T I O N A D MI N I S T R A T I V E OFFI CE Patricia Howar d Executive Assistant to the Director Barbara Anderson Collections Projects Coordinator Evelyn Bassel Li t t lej ohn Administrative Coordinator Mar y Hol t man Executive Secretary Brenda Calsbeck Senior Secretary Theresa Wi l l i ams Senior Secretary PER S ONNEL A N D A D MI N I S T R A T I V E SERVI CES Al i son Sowden Director of Personnel and Administrative Services Judi t h Connol l y Manager of Office Services Carol Nor dahl Accounting Supervisor Rose Mar y Moot e Personnel Assistant Ali ce Ward Accounting Clerk Gregory Ballard Payroll Clerk Wi l l i am Stevens General Services Clerk Patty Byler Office Assistant Therese Whalen Office Assistant Marci a Crews Receptionist Sherrie Mc Connel l Receptionist CUR ATOR I AL DE PA R T ME N T OF A N T I Q U I T I E S Mar i o n True Curator Kennet h Hamma Associate Curator Mar k R. Jent oft -Ni lsen Assistant Curator Karen Manchester Assistant Curator Kar ol Wi ght Curatorial Assistant Dor ot hy Osaki Senior Secretary DE PA R T ME N T OF DE CO R A TI V E ARTS Gi l l i an Wi l son Curator Davi d Cohen Associate Curator Charissa Br emer -Davi d Curatorial Assistant Theresa Morales Senior Secretary DE P A R T ME N T OF DR AWI NGS George R. Goldner Curator Lee Hendr i x Assistant Curator Nancy E. Yocco Conservation Assistant 2 Stacy Pierson Senior Secretary DE P A R T ME N T OF MA N U S CR I PTS Thomas Kr en Curator Ranee Katzenstei n Assistant Curator Nancy Turner Conservation Assistant 1 Peggy Roberts Senior Secretary D E P A R T ME N T OF PAI NTI NGS Myr o n Laski n Curator Louise Li ppi ncot t Associate Curator Dawson Carr Assistant Curator Chri stopher Ri opelle Assistant Curator Chri sti ane Rami rez Senior Secretary D E P A R T ME N T OF PHOTOGR APHS Weston Naef Curator Judi t h Keller Associate Curator Gor don Bal dwi n Study Room Supervisor Vi ct or i a Blasco Curatorial Assistant Joan Gallant Curatorial Assistant James Evans Conservation Assistant 2 Ernest Mack Conservation Assistant 1 Louise Stover Registration Assistant Jane Betts Senior Secretary Robi n Sparks Secretary D E P A R T ME N T OF S CU L PTU R E A N D WOR KS OF A R T Peter Fusco Curator Catheri ne Hess Curatorial Assistant Ni na Banna Senior Secretary CONS ERVATI ON A N T I Q U I T I E S CO N S E R V A TI O N Jerry C. Podany Conservator Maya Barov Associate Conservator Clai re Dean Assistant Conservator Lisbet Thoresen Assistant Conservator Susan Lansi ng Conservation Assistant 2 Patricia Mi nat oya Conservation Assistant 2 James Stahl Senior Conservation Technician/ Mountmaker Wayne Haak Conservation Technician/ Mountmaker Vi vi an Coe Senior Secretary DE CO R A TI V E ARTS A N D S CU L PTU R E CO N S E R V A TI O N Barbara Roberts Conservator Br i an B. Consi di ne Associate Conservator Bi l l i e Mi l a m Associate Conservator Graham Powell Associate Conservator Li nda Strauss Assistant Conservator George Johnson Senior Conservation Technician/ Mountmaker Mar k Mi t t o n Conservation Technician/ Mountmaker Di ane Bi ehl Senior Secretary PAI NTI NGS CO N S E R V A TI O N Andrea R. Rothe Conservator Mar k Leonard Associate Conservator Elisabeth D. Ment i o n Assistant Conservator Yvonne J. Szafran Assistant Conservator Robert Keefe Senior Frame Specialist Susan Acker man Senior Secretary COL L ECTI ONS SUPPORT PHO TO GR A PHI C SERVI CES Charles Passela Head of Photographic Services Penelope Potter Associate Photographer Jack Ross Assistant Photographer 2 Stephenie Blakemore Assistant Photographer 1 Jacklyn Burns Photo Technician Jonathan Swi hart Photo Technician Rebecca Vera-Marti nez Photo Technician Amanda Fish Office Assistant PR EPAR ATI ON Bruce A. Met r o Prep arator/Head of Preparations and Machine Shop Scott Reuter Associate Preparator Gary K. Lopez Assistant Preparator Eduardo Sanchez Assistant Preparator Stepheny C. Di r den Preparation Assistant 2 Ar t hur Parker Preparation Assistant 2 Kat hryn-Forouhar Kl ei n Preparation Assistant 1 Ri ta Gomez Preparation Assistant 1 Tony Mor eno Preparation Assistant 1 Susi Staunton Secretary R EGI S TR ATI ON Sally Hi bbar d Registrar John C. Caswell Associate Registrar Cynt hi a Nalevanko Collections Management Systems Manager Amy No el Assistant Registrar Julia Smi t h Senior Secretary Kathleen Ki bler Secretary E D U CA T I O N A N D PUBL I C AFFAI RS Lisa Baylis Manager of Program Planning Patricia Br i ndl e Executive Secretary DE P A R T ME N T OF E D U CA T I O N A N D A CA D E MI C AFFAI RS Davi d Ebi t z Head of Education and Academic Affairs Judi t h Sloane Blocker Museum Educator Andr ew Cl ar k Museum Lecturer Laurie Fusco Museum Lecturer Margaret Jacobson Manager of Concert and Lecture Programs Joan Stern Administrative Support Manager Mar y Acker man Gallery Teacher Const ant i n Andronescu Gallery Teacher Rhonda Magnus Gallery Teacher Barbara Schreiber Gallery Teacher Mari chi a Si mci k Gallery Teacher Anne Spackman Gallery Teacher Carri e Sutton Gallery Teacher Jacqueline Sutton Gallery Teacher Georgia Angus Senior Secretary Jolanta Kasztelewicz Senior Secretary Sally Meade Secretary Jennifer D. Kellen Education Assistant Robert Weiner Office Assistant 2 B O O KS TO R E Esther Ewer t Sales and Distribution Manager Roberta Stothart Bookstore Manager Eddi e A. Tucker Assistant Bookstore Manager Barbara B. Campbel l Bookstore Assistant Robi n Johnson Bookstore Clerk Edmond Osborne Bookstore/Warehouse Clerk Maggi e Sarkissian Bookstore Clerk PU B L I CA TI O N S Chri stopher Hudson Head of Publications Andrea P. A. Bel l ol i Editor-in-Chief Patrick Dool ey Designer Karen Schmi dt Production Manager Phi l Freshman Editor Kur t J. Hauser Assistant Designer Patricia Inglis Assistant Designer Leslie Thomas Assistant Designer Eli zabeth Bur ke Production Assistant Lor en Eisler Production Assistant Mar y Bet h Powell Senior Secretary PUB L I C I N F O R MA T I O N Lor i J. Starr Head of Public Information Carole Levi nt hal Special Events Coordinator Denise Yarfitz Public Information Assistant Constance S. Hai g Senior Secretary Mi chael Hampt on Reservations Operations Supervisor Yvonne Bass Reservations Agent Davi d Br o wn Reservations Agent Aurora Floresca Reservations Agent Davi d Kearney Reservations Agent Eloise Ko ng Reservations Agent Enri que Ri vero Reservations Agent Annabelle Staunton Reservations Agent Gretchen Van Lente Reservations Agent MA I N T E N A N CE A N D FACI LI TI ES GR O U N DS MA I N T E N A N C E Ri chard Naranjo Grounds Superintendent Steven Cut t i ng Assistant Grounds Superintendent Roberto R. Guerrero Senior Gardener Gabrielle de Benedictis Gardener 4 Juan Romero Gardener 4 Rogeli o Oropeza Gardener 3 J. Pablo Rodri guez Gardener 3 Lui s Br ambi l l a Gardener 2 Jose Luna Gardener 2 Manuel Ol i ver Gardener 2 Rosario Agui l ar Raya Gardener 2 Isabel Segura Gardener 2 Aandrea Stang Office Assistant P L A N T MA I N T E N A N C E Howar d Sherman Chief Engineer Ronald Meza Assistant Chief Engineer Wayne T Br anham Senior Engineer/Electrician Davi d Hami l t o n General Engineer Alexander Mc Der mo t t Engineer/Plumb er Chri s Jaeckel Senior Office Assistant MA C H I N E S HOP James Davies Machine Shop Supervisor Peter Shapiro Woodworking Shop Supervisor S E CU R I TY Wi l b ur Faulk Director of Security Wi l l Royston Assistant Director of Security/ Operations Robert Combs Assistant Director of Security/ Technical Systems Mi nni e Batch Staff and Facilities Coordinator Sue Speth Secretary Wayne Ar baugh Supervisor Ed Mc Go ugh Supervisor To m Roberts Do n Phi l i pp Supervisor Ri chard Price Deke Ti nner Veronica Rachal Supervisor Aar on Randleman Ron Uej o Hermes Salalima Supervisor Supervisor Vi nce Sarish Security Officers Ivona Savereide Fasi A l i Kahn Ivona Savereide Ana Apar i ci o Robert Schelley Ana Apar i ci o Bruce Segler Dan Aust i n Roger Balabanow Ian Seid Roger Balabanow j o Herbert Bar d Ni ndapal Si ngh Lee Bass Har r y Sussholz Mat t Tamboer Bi l l Br andon Mat t Tamboer Mar y Tennard Or lando Cant on Mar y Tennard Bi l l Cams Wi l l i e Thomas John Connol l y Mat t Valentine John Connol l y Do n Van Pelt Dan Cor bi n Do n Van Pelt Bobby Davis Mar i o Vasquez Bobby Davis Ji mmy Washi ngt on Frank Durant e Ji mmy Washi ngt on Lar r y Faulkner John Wi l l i ams Lar r y Faulkner Robert Wise Robert Foley Robert Wise Deshay Ford Davi d Forrest Ray Frazier Alfonso Galang Gary Gamble Steven Gi dley Janet Gi l l Bob Gr i msr ud Sandy Hanson Charles Har r i ngt on Donna Har vat h Roberto Hernandez Jack Jackson Mar k Lasken T i m Lewi s James Lynch Stu Mc Do nal d Tom Moseley Frank Mur phy Fernando Ost oi ch Lynn Parker Editorial Board Credits Bur t on B. Fredericksen Senior Curator for Research Peter Fusco Curator of Sculpture and Works of Art George R. Goldner Curator of Drawings Deborah Gr i bbon Associate Director for Curatorial Affairs, Secretary Thomas Kr en Curator of Manuscripts Myr o n Laski n Curator of Paintings Weston Naef Curator of Photographs Mar i o n True Curator of Antiquities Gi l l i an Wi l son Curator of Decorative Arts Bret Waller Associate Director for Education and Public Affairs, ex offi ci o John Walsh Director, ex offi ci o Chri stopher Hudson Head of Publications Andrea R A. Bel l ol i Managing Editor Phi l Freshman, Lynne Ho c kman, and Angel a Tho mpso n Manuscript Editors Eli zabet h Bur ke Photographs Coordinator Kar en Schmi dt Production Manager Patrick Dool ey Designer Patricia Ingli s Assistant Designer Kat he Fl ynn Production Artist Charles Passela, Do nal d Hul l , Stephenie Blakemore, Thomas Mo o n , Penelope Potter, and Jack Ross Photographers Typogr aphy by Andresens Tucson Typogr aphi c Service, Inc., Tucson Pr i nt ed by Al an Li t hogr aph Inc., Los Angeles The J. Paul Getty Museum Journal is publi shed once a year. Manuscr i pt s shoul d be submi t t ed no later t han November 1 for consi derati on for the next year's issue. The Journal cont ai ns art i cles and shorter notes related t o aspects o f t he Mus e um' s per manent c o l l ec - ti ons: anti qui ti es, i l l umi nat ed manu- scripts, European decorative arts and sc ul pt ur e, lat e medi eval t h r o ug h ni net eent h- c ent ur y pai nt i ngs and drawi ngs, and photographs. Abbr evi at i on: GettyMusJ Subscri pti ons may be addressed to the J. Paul Get t y Bo o k Di st r i b ut i on Center, P.O. Bo x 2112, Santa Moni ca, Cali for ni a 90406. The paper and b i ndi ng i n this book meet the gui deli nes for permanence and dur abi l i t y o f the Commi t t ee on Pr oduct i on Gui deli nes for Bo o k Longevi t y o f the Co unc i l on Li br ar y Resources. 1987 The J. Paul Get t y Mus eum 17985 Pacific Coast Hi ghway Mal i b u, Cali for ni a 90265 (213) 459-7611 I S B N 0-89236-133-6 I SSN 0362-1979
A Manual of Historic Ornament: Treating upon the evolution, tradition, and development of architecture and other applied arts. Prepared for the use of students and craftsmen